Maxwell's Silver Hammer: Do You Like It Or Loathe It?

When I think about The Beatles Abbey Road album I cannot think of anything else but summer. I was given my Dad's beat up original pressing with it's ripped cover and it's tendency to skip on Oh! Darling, at the start of my six weeks holiday from school. And I played it relentlessly. It was this time that Here Comes The Sun became, and remains, my favourite song, I fell in love with George Harrison and my Dad, a lifelong Beatle fan, threatened to take the fuse out of my record player if I did not stop playing Here Comes The Sun.

It is an album that has always struck me as particularly positive, bright, sunny and, in comparison to some of their albums, somewhat lighthearted. Who cannot admire Something - the ultimate love song ever composed. The very child friendly Octopuses Garden, the sultry and extremely sexy I Want You (She's So Heavy) and the earth shattering piece of musical perfection -The End.

However, nestled alongside the tear jerking Golden Slumbers and the upbeat Polythene Pam sits a song that is both perplexing, unusual and surprising. Like a wolf in sheep's clothing it's one of Paul McCartneys most bizarre recordings. A song that is either liked or loathed. A song that knows no grey. That song is Maxwell's Silver Hammer.

The origins of the song started whilst the Beatles were in Rishikesh. Paul has originally intended for the song to be included on The White Album but due to time constraints  it was nowhere near completed and was left off the album. Recording for the song restarted at Abbey Road studios on the 9th of July 1969.

Maxwell's Silver Hammer is a duel layered song. It quite often appears in lists such as 'top Beatles songs for children' alongside Yellow Submarine and Octopuses Garden.  Its chirpy, happy exterior hides a black core. Despite its cheerful facade, it's actually a song about a psychopathic murder who single handedly bumps off a female scientist, a female teacher and a male judge. Hardly the stuff to send your little ones to sleep with!

Despite its controversy, and it does fuel a lot in Beatle's fan circles, the production of the song gives us a small insight into the personality of Paul McCartney.

I cannot say that I know a lot about Paul McCartney on many levels. Actually, I pay very little attention to the private side oft the Beatles, with the exception of George, of course, whose musical and spiritual journey intrigue me. But when it comes to Paul, I've probably read the least.

However, when I read stories about the production of Maxwell's Silver Hammer, I learn exactly how much a perfectionist Paul actually is. And how absorbed into the record making process he becomes to blindness of people and situations around him.

The song took three days to complete, much to the chagrin of Messrs Lennon, Harrison and Starr. As Paul constantly altered the arrangement and requested take after take, George Harrison reportedly pleaded with Paul to stop - three days was more than enough.  Ringo remembered it as the worst recording session and the worst song ever. John dusted it off as another example of Pauls' "granny" music that was no better then Ob-La-Di, Ob-La-Da. But with typical Paul dedication, and perhaps a little bit of ego, Paul sailed the ship on and the song was completed in mid July ready for inclusion onto Abbey Road, which was released in September of that same year.

So do you actually like the song? I can say that I absolutely love it. I know it was hard going recording the song, but as a listener rather than a performer, it's upbeat and funny. How can you not smile, or even laugh, as I do, at a line like "PC 31, said we caught a dirty one ...." This sort of fey, throwaway line, mixed with a light hearted tune makes it easy for the casual listener to think this is a fun, child's party song. Oh how wrong they are!

I like its tempo and rhyming lyrics. I love the way the lyrics flow. I love the story the song tells.  I love how it sells such a negative narrative in such a positive way. It's kind of a work of genius if you think about how easily it can fool the first time listener into thinking they are getting one thing when they are actually getting something very different.

Yet, rarely for a song composed by Paul, it gets such a a lot of negative reviews. More people I know dislike the song and say it's a waste - that there are many unused songs that could of taken the precious place on Abbey Road. I suppose I'm used to George and Ringo's songs being quite harshly critiqued. Paul rarely is subjected to such treatment. I wonder how he feels about being open to such scrutiny over such a strange song.

My mum, who isn't Paul's biggest fan and is more of a fan of their early songs, often sings along to this when I play it. It's catchy and once I've played it, it sticks in my brain for ages. If it makes her sing then it can't be too bad!

What staggers my mind though is Maxwell's Silver Hammer, a song by the much worshipped and respected Paul McCartney suffers such derision. I am no way insulting Ringo, but I would expect a song like 'Don't Pass Me By' to be treated in such a way. Not something that came from the musical mind of Paul McCartney.

For me, though, I believe, Abbey Road wouldn't be the same without it. It has its place on the album and holds it's own charm. It earns its place.

But, it's no Here Comes The Sun.