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"Mean Mr. Mustard" is a song by English rock band the Beatles, released on their 1969 studio album Abbey Road. Written by John Lennon [ 1 ] and credited to Lennon–McCartney , it is the third track of the album's medley .
Abbey Road is the eleventh studio album by the English rock band the Beatles, released on 26 September 1969, by Apple Records.It is the last album the group recorded, [2] although Let It Be (1970) was the last album completed before the band's break-up in April 1970. [3]
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.
Between the two known recordings of the song during Beatles sessions, Lennon moved the lyrics around and altered its arrangement. A similarity between this song and Lennon's "Mean Mr. Mustard" from the album Abbey Road has been noted. [1] [2]
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
"Carry That Weight" is a song by the English rock band the Beatles from their 1969 album Abbey Road. Written by Paul McCartney and credited to Lennon–McCartney, it is the seventh and penultimate song in the album's climactic side-two medley.
Yellow Matter Custard was a Beatles tribute supergroup consisting of Mike Portnoy, Neal Morse, Paul Gilbert and Matt Bissonette. Kasim Sulton played bass with the band in 2011, replacing Bissonette.
In the 1960s and early 1970s fuzz bass was associated with the psychedelic music (e.g., Edgar Broughton Band), progressive rock (e.g., Genesis), and psychedelic soul/funk (e.g., Sly and the Family Stone) styles, and it tended to be a "warmer", "smoother", and "softer" overdrive-type sound caused by soft, symmetrical clipping of the audio signal ...