The End (Beatles song)
|Song by the Beatles|
|from the album Abbey Road|
|Released||26 September 1969|
|Recorded||23 July–18 August 1969|
"The End" is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was composed by Paul McCartney and credited to Lennon–McCartney. It was the last song recorded collectively by all four Beatles, and is the final song of the medley that constitutes the majority of side two of the album.
Composition and recording
McCartney said, "I wanted [the medley] to end with a little meaningful couplet, so I followed the Bard and wrote a couplet." In his 1980 interview with Playboy, John Lennon acknowledged McCartney's authorship by saying, "That's Paul again ... He had a line in it, 'And in the end, the love you get is equal to the love you give,' which is a very cosmic, philosophical line. Which again proves that if he wants to, he can think." Lennon misquoted the line; the actual words are, "And in the end, the love you take is equal to the love you make."
Recording began on 23 July 1969, when the Beatles recorded a one-minute, thirty-second master take that was extended via overdubs to two minutes and five seconds. At this point, the song was called "Ending". The first vocals for the song were added on 5 August, additional vocals and guitar overdubs were added on 7 August, and bass and drums on 8 August, the day the Abbey Road cover picture was taken. Orchestral overdubs were added 15 August, and the closing piano and accompanying vocal on 18 August.
All four Beatles have a solo in "The End", including a Ringo Starr drum solo. Starr disliked solos, preferring to cater drumwork to whoever sang in a particular performance. His solo on "The End" was recorded with twelve microphones around his drum kit; in his playing, he said he copied part of Ron Bushy's drumming on the Iron Butterfly track "In-A-Gadda-Da-Vida". The take in which Starr performed the solo originally had guitar and tambourine accompaniment, but other instruments were muted during mixing, giving the effect of a drum solo.
McCartney, George Harrison and Lennon perform a rotating sequence of three, two-bar guitar solos. The idea for a guitar instrumental over this section was Harrison's, and Lennon suggested that the three of them each play a section. The solos begin approximately 53 seconds into the song. Geoff Emerick, the Beatles' recording engineer, later recalled: "John, Paul and George looked like they had gone back in time, like they were kids again, playing together for the sheer enjoyment of it. More than anything, they reminded me of gunslingers, with their guitars strapped on, looks of steely-eyed resolve, determined to outdo one another. Yet there was no animosity, no tension at all – you could tell they were simply having fun."
The first two bars are played by McCartney, the second two by Harrison, and the third two by Lennon, then the sequence repeats. Each has a distinctive style which McCartney felt reflected their personalities. Immediately after Lennon's third solo, the piano chords of the final line "And in the end ..." begin. Then the orchestration arrangement takes over with a humming chorus and Harrison playing a final guitar solo that ends the song.
"The End" was initially intended to be the final track on Abbey Road, but it ended up being followed by "Her Majesty". Although "The End" stands as the last known new recording involving all four members of the Beatles, one additional song, "I Me Mine", was recorded by three members of the group (Lennon being absent due to being on holiday in Denmark) in January 1970 for the album Let It Be.
The 1996 compilation album Anthology 3 contains a remixed version of "The End", restoring tambourine and guitar overdubs mixed out of the original, and edited to emphasise the guitar solos and orchestral overdub. The track is followed by a variant on the long piano chord that ends "A Day in the Life", concluding the compilation. The drum solo was later used at the beginning of "Get Back" on the 2006 album Love.
The song commences in A major, with an initial I–IV–II–V–I structure matching the vocals on "Oh, yeah, all right!" This is followed by a ♯iv dim–I pattern (D♯dim to A chord) on "dreams tonight." During this, the accompanying bass and one guitar move chromatically from A to B and D♯, while the second guitar harmonises a minor third higher to reach F♯. An eight bar drum solo as a final statement of recognition to their "steady, solid drummer" ends with a crescendo of eighth notes and bass and rhythm guitar in seventh chords to the chant "Love you." The sequential three guitar solos rotate through I7 (A7 chord)–IV7 (D7 chord) changes in the key of A in a mix of "major and minor pentatonic scales with slides, double-stops, repeated notes, low-bass string runs and wailing bends". Gould terms these live studio takes "little character sketches":
Paul opens with a characteristically fluid and melodically balanced line that sounds a high A before snaking an octave down the scale; George responds by soaring to an even higher D and sustaining it for half a bar before descending in syncopated pairs of 16th notes; John then picks upon the pattern of George's 16ths with a series of choppy thirds that hammer relentlessly on the second and flattened seventh degrees of the scale. The second time through, Paul answers John's blusey flattened 7ths with bluesy minor thirds and then proceeds to echo George's earlier line, spiraling up to that same high D; George responds with some minor thirds of his own, while mimicking the choppy rhythm of John's part; John then drops two octaves to unleash a growling single-note line. On this final two-bar solo, Paul plays almost nothing but minor thirds and flattened sevenths in a herky-jerky rhythm that ends with a sudden plunge to a low A; George then reaches for the stars with a steeply ascending line that is pitched an octave above any notes heard so far; and John finishes with a string of insistent and heavily distorted 4ths, phrased in triplets, that drag behind the beat and grate against the background harmony.
The final "Ah" is in C with a spiritually evocative Plagal cadence IV–I (F–C chord) on piano while the voices do an F to E shift. "And in the end the love you take" is in A major, but the G/A chord supporting the word "love" begins to dissolve our certainty that we are in A, by adding a ♭VII. The next line shifts us to the fresh key of C, with a iv (F) chord that threatens the dominance of the departing A key's F♯: "Is eq-ual" (supported successively by IV (F)–iii (Em) chords with an A–G bass line) "to the love" (supported successively by ii (Dm)–vi (Am)–ii7 (Dm7) chords with a F–E bass line) "you make" (supported by a V7 (G7) chord). The final bars in the key of C involve a I–II–♭III rock-type progression and a IV–I soothing cadence that appear to instinctively reconcile different musical genres.
Richie Unterberger of AllMusic considered "The End" to be "the group's take on the improvised jamming common to heavy rock of the late '60s, though as usual The Beatles did it with far more economic precision than anyone else." John Mendelsohn of Rolling Stone said it was "a perfect epitaph for our visit to the world of Beatle daydreams: 'The love you take is equal to the love you make.'"
- The song is included as the encore on The Beatles: Rock Band.
- McCartney's second guitar solo, Lennon's last guitar solo and Starr's drum solo were used in the intro to "Get Back" in the Beatles' Love.
- In Ralph Bakshi's 1972 film Fritz the Cat, Fritz quotes the line "the love you give is equal to the love you get" when deciding not to plant a bomb in a nuclear power plant and rejecting violent revolutionary politics. The character's creator, Robert Crumb, denounced this dialogue as "red-neck and fascistic".
- The Beastie Boys sampled a portion of "The End" for their track "The Sounds of Science" from Paul's Boutique.
- Chris Farley famously asked McCartney on the Chris Farley Show skit on Saturday Night Live, whether it was true that "the love you take is equal to the love you make." McCartney replied, to Farley's delight, that, in his experiences, it was, saying "the more you give, the more you get."
- Paul McCartney performed the closing couplet of "The End" at the 2012 Summer Olympics opening ceremony just prior to closing the event with a performance of the song "Hey Jude".
- Peter Brown used the song's lyric as the title of his book about the Beatles, The Love You Make.
- The closing couplet is sung by k.d. lang and partly spoken by Robin Williams (as the character Lovelace) at the end of the movie Happy Feet.
- The final episode of the long-running, American TV series ER (1994–2009) is titled after some of the song's lyrics, "And in The End ..."
- The song was used as the final song played on the classic rock stations KMET and KSWD in Los Angeles as well as WNEW-FM in New York City.
- When Mojo released Abbey Road Now! in 2009, part of a continuing series of CDs of Beatles albums covered track-by-track by modern artists, "The End" was covered by The Loose Salute.
- Beatallica covered the song using the melody of Metallica's "The End of the Line".
- Paul McCartney – lead and backing vocals, bass guitar, piano, guitar solo
- John Lennon – backing vocals, rhythm guitar, guitar solo
- George Harrison – backing vocals, rhythm and lead guitar, guitar solo
- Ringo Starr – drums, backing vocals on the "Love you" chorus
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- "100 Greatest Beatles Songs: 23. 'Abbey Road Medley'". Rolling Stone. 19 September 2011. Archived from the original on 22 January 2014. Retrieved 10 March 2018.
- Womack 2014, pp. 258–59.
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- Dominic Pedler. The Songwriting Secrets of the Beatles. Music Sales Limited. Omnibus Press. NY. 2003. pp. 392–394
- Jonathan Gould. Can't Buy Me Love: The Beatles, Britain and America. Piatkus 2007 pp. 589–590.
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- Maremaa, Thomas (2004) . "Who Is This Crumb?". In Holm, D. K. R. Crumb: Conversations. Univ. Press of Mississippi. p. 28. ISBN 1-57806-637-9.
- "KMET Rides The Wave, Becomes KTWV" (PDF). Radio and Records. 20 February 1987. Retrieved 23 April 2018.
- "KMET Becomes Smooth Jazz 94.7 The Wave KTWV". Format Change Archive. Retrieved 25 December 2017.
- Larsen, Peter (16 November 2017). "The Sound of silence: Classic rock station The Sound FM 100.3 played its final songs and left the air on Thursday". The Orange County Register. Retrieved 25 December 2017.
- "KLOVE Comes To SoCal As 'The Sound' Is Silenced". RBR. Retrieved 18 November 2017.
- Collins, Glenn (14 September 1999). "WNEW-FM, Rock Pioneer, Goes to All-Talk Format". The New York Times. Retrieved 23 April 2018.
- "Abbey Road Now - Track Listing - Mojo Cover CDs - The Definitive List". Archived from the original on 23 August 2014.
- "Beatallica - Carry That Weight is another Jaymz tune, so... - Facebook".
- Anthology 3 (booklet). The Beatles. London: Apple Records. 1996. 34451.
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- The Beatles – Complete Scores. Milwaukee: Hal Leonard Publishing Corporation. 1993. ISBN 0-7935-1832-6.
- "Interview Transcript". Larry King Show. 26 June 2007. Retrieved 25 April 2009.
- Lewisohn, Mark (1988). The Beatles Recording Sessions. New York: Harmony Books. ISBN 0-517-57066-1.
- MacDonald, Ian (2005). Revolution in the Head: The Beatles' Records and the Sixties (Second Revised ed.). London: Pimlico (Rand). ISBN 1-84413-828-3.
- Mendelsohn, John (15 November 1969). "Review of Abbey Road". Rolling Stone. Retrieved 1 March 2007.
- Miles, Barry (1997). Paul McCartney: Many Years From Now. New York: Henry Holt & Company. ISBN 0-8050-5249-6.
- Sheff, David (2000). All We Are Saying: The Last Major Interview with John Lennon and Yoko Ono. New York: St. Martin's Press. ISBN 0-312-25464-4.
- Unterberger, Richie (2007). "Review of "The End"". Allmusic. Retrieved 1 March 2007.
- Winn, John C. (2009). That Magic Feeling: The Beatles' Recorded Legacy, Volume Two, 1966–1970. New York, NY: Three Rivers Press. ISBN 978-0-307-45239-9.
- Womack, Kenneth (2014). The Beatles Encyclopedia: Everything Fab Four. Santa Barbara, CA: ABC-CLIO. ISBN 978-0-313-39171-2.
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