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Original reviews of now "classic" albums
#1
i thought this might be an eye opener (and feel free to add posts) to what reviewers said in their reviews of albums we now regard as "classics"...
they will give an insight into the how people thought back in the day compared to now.
if its possible to copy/paste an old review feel free, if not just provide the link but mention what album it is for so we don't double up:

once again, the old saying "isn't hindsight a wonderful thing" proves right again


anyway I/we can see where this thread takes us...


8th October 1969: ABBEY ROAD

from "the guardian"  hardly the review of a future earthshattering, music changing album

the link:  https://www.theguardian.com/theguardian/...chive-1969

the review below for those who cant be bothered clicking on the link!

The Beatles have spent the past year at home in Britain since their last album "The Beatles." They've pursued their personal activities and every now and then they got together and parked at their recording studios in Abbey Road, St John's Wood. And now they've done it again; they have produced another album, "Abbey Road." 

That's the trouble: they've done it again. Here are all their old tricks and gifts. "Maxwell's Silver Hammer" is John Lennon's magic funny schoolboy cruelty again, style of the Bash Street Kids. "Oh Darling" is their suave celebration track - this time, they round off the Rolling Stones' "If you need me," with bits of "You can make it if you try" and a tailing of Buddy Holly.

Alan Price made a great arrangement of "The House of the Rising Sun." The Beatles use it again in "I want you." "Golden Slumbers" sounds like the mandatory McCartney swelling sad-happy number: "Because" the mandatory Lennon happy-sad number. There is the enigma in "You never give me your money" " No-where to go" (know where to go, no-where to go...). And, OK, Ringo let's orchestrate your new variation on a theme of "Yellow Submarine": "Octopus's Garden." And let's have two surprises. Side 1 stops dead. And side 2 has that little bit added that you miss until you leave the record playing: for Princess Anne to play to her mother.

The Beatles' music has a special dense texture, which no other band rivals. Even their slightest track, now, has an ambiguity and complexity, which, especially Lennon adds his strange word-images, turns the music into an object rather than a tune. The old heroes of rock and roll, like Carl Perkins and Jerry Lee Lewis, contented themselves with a driving line, which left nothing more than an awakening sense of energy and vitality. Electric music has netted plenty of bigger fish since those days.
But the old rock and roll had energy and purpose. And this is what "Abbey Road" has not. Of course the album is clever and deft: of course it touches far more ideas than all but the most talented music.

But if you've heard "The Beatles," "Get Back," and "Give peace a chance," you've heard "Abbey Road." Musically, in the narrow sense of the word, the Beatles are as good as ever. But, in the wide, living sense of the word, no one can be as "good as ever," musically. The potency of rock music does not lie in the quality which can be isolated as musical. Anyone who thinks that must be puzzled at the fuss that I as well as others make over it. Rock music is potent through its relationship with the times in which it is played.
"Abbey Road" contains talent comparable with any other Beatles album, but nevertheless is a slight matter. Perhaps to their own relief, the Beatles have lost the desire to touch us. You will enjoy "Abbey Road." But it won't move you.
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