"Maxwell's Silver Hammer" is a song by the English rock band the Beatles from their 1969 album Abbey Road. It was written by Paul McCartney and credited to the Lennon–McCartney partnership. The song is about a student named Maxwell Edison who commits murders with a hammer, with the dark lyrics disguised by an upbeat sound. McCartney described the song as symbolic of the downfalls of life, being "my analogy for when something goes wrong out of the blue, as it so often does".

The song was initially rehearsed during the Get Back sessions in January 1969. During the recording of Abbey Road in July and August, the band devoted four recording sessions to completing the track. These sessions were an acrimonious time for the Beatles, as McCartney pressured the group to work at length on the song. All three of his bandmates were vocal in their dislike of "Maxwell's Silver Hammer". In a 2008 interview, Ringo Starr remembered it as "the worst session ever" and "the worst track we ever had to record".

Background
While in Rishikesh, India, in early 1968, McCartney began to write the first verse of the song. Having completed most of it by October that year, he intended for its inclusion on the album The Beatles, but it was never properly recorded during those sessions due to time constraints. It was rehearsed again three months later, in January 1969, at Twickenham film studios during the Get Back sessions but would not be recorded for another six months.

McCartney's wife Linda said that he had become interested in avant-garde theatre and had immersed himself in the writings of the experimental French author Alfred Jarry.  This influence is reflected in the story and tone of "Maxwell's Silver Hammer", and also explains how McCartney came across Jarry's word "pataphysical", which occurs in the lyrics. In 1994, McCartney said that the song epitomises the downfalls of life, being "my analogy for when something goes wrong out of the blue, as it so often does, as I was beginning to find out at that time in my life. I wanted something symbolic of that, so to me it was some fictitious character called Maxwell with a silver hammer. I don't know why it was silver, it just sounded better than Maxwell's hammer."

Recording
The Beatles began recording the song at EMI Studios (later Abbey Road Studios) in London on 9 July 1969. John Lennon, who had been absent from recording sessions for the previous eight days after being injured in a car crash in Scotland, arrived to work on the song, accompanied by his wife, Yoko Ono, who, more badly hurt in the accident than Lennon, lay on a large double-bed in the studio. Sixteen takes of the rhythm track were made, followed by a series of guitar overdubs. The unused fifth take can be heard on Anthology 3. Over the following two days the group overdubbed vocals, piano, Hammond organ, anvil, and guitar. The song was completed on 6 August, when McCartney recorded a solo on a Moog synthesizer.

The recording process subsequently drew unfavourable comments from Lennon, George Harrison and Ringo Starr. Lennon said, "I was ill after the accident when they did most of that track, and it really ground George and Ringo into the ground recording it", adding later: "I hate it, 'cos all I remember is the track ... [Paul] did everything to make it into a single, and it never was and it never could have been." In the recollection of engineer Geoff Emerick, Lennon dismissed it as "more of Paul's granny music". Harrison recalled: "Sometimes Paul would make us do these really fruity songs. I mean, my God, 'Maxwell's Silver Hammer' was so fruity. After a while we did a good job on it, but when Paul got an idea or an arrangement in his head …" Starr told Rolling Stone in 2008: "The worst session ever was 'Maxwell's Silver Hammer.' It was the worst track we ever had to record. It went on for fucking weeks. I thought it was mad." McCartney recalled: "The only arguments were about things like me spending three days on 'Maxwell's Silver Hammer.' I remember George saying, 'You've taken three days, it's only a song.' – 'Yeah, but I want to get it right. I've got some thoughts on this one.'"

Commentary by band members
In a taped recording of a band meeting conducted in September 1969 (Starr was not present), Lennon raised the possibility of individual songwriting responsibilities being split equally among Lennon, McCartney, and Harrison in future. In this arrangement, each of the writers would contribute four songs to an album, and Starr would have the opportunity to contribute two. Beatles historian Mark Lewisohn comments on the exchange that proceeded among the three bandmates:
Paul... responds to the news that George now has equal standing as a composer with John and himself by muttering something mildly provocative. "I thought until this album that George's songs weren't that good," he says, which is a pretty double-edged compliment since the earlier compositions he's implicitly disparaging include Taxman and While My Guitar Gently Weeps. There's a nettled rejoinder from George: "That's a matter of taste. All down the line, people have liked my songs." John reacts by telling Paul that nobody else in the group "dug" his Maxwell's Silver Hammer... and that it might be a good idea if he gave songs of that kind – which, John suggests, he probably didn't even dig himself – to outside artists in whom he had an interest... "I recorded it," a drowsy Paul says, "because I liked it."

Contemporary reviews
In his 1969 review of Abbey Road, for Rolling Stone, John Mendelsohn wrote: "Paul McCartney and Ray Davies are the only two writers in rock and roll who could have written 'Maxwell's Silver Hammer', a jaunty vaudevillian/music-hallish celebration wherein Paul, in a rare naughty mood, celebrates the joys of being able to bash in the heads of anyone threatening to bring you down. Paul puts it across perfectly with the coyest imaginable choir-boy innocence." Writing in Oz magazine, Barry Miles described the song as "a complex little piece" and said that, aside from McCartney's casual interest in Jarry's work, "The only British pop group holding any pataphysical honours are The Soft Machine". Miles also said it was "a perfect example of Paul's combination of American Rock with British brass band music".

Derek Jewell of The Sunday Times found the album "refreshingly terse and unpretentious", but lamented the inclusion of "cod-1920s jokes (Maxwell's Silver Hammer)" and "Ringo's obligatory nursery arias (Octopus's Garden)". In 1974, Robert Christgau referred to "Maxwell's Silver Hammer" as "a McCartney crotchet".

Retrospective assessments and legacy
Among Beatles biographers, Ian MacDonald said that "If any single recording shows why The Beatles broke up, it's 'Maxwell's Silver Hammer'." He continued:  Author Jonathan Gould cites "Maxwell's Silver Hammer" as an example of the selfishness inherent in the Beatles' creative partnership, whereby a composition by McCartney or Lennon would be given preference over a more substantial song by Harrison. He also rues McCartney's penchant for a light entertainment style that the Beatles had sought to render obsolete, and concludes: 

In 2009, PopMatters editor John Bergstrom concluded his list "the worst of the Beatles" with the song. He said that while McCartney had previously created "some borderline-schmaltzy, music hall-inspired songs", "Maxwell's Silver Hammer" was "where even the secret admirer of 'Rocky Raccoon' must draw the line". Bergstrom described it as "Unnervingly 'cute', unrelentingly obnoxious, too literal-minded by half" and "the single Beatles song out of nearly 200 that is basically unlistenable".

In 2020, author John Tait paired the song with "Mack the Knife" as noteworthy contemporary murder ballads about serial killers.

Cover versions
 In 1972, the Canadian band the Bells covered "Maxwell's Silver Hammer". Their version became a hit in Canada.  It reached number 83 on the Pop chart and number two on the Canadian Adult Contemporary chart.
 In the 1978 film Sgt. Pepper's Lonely Hearts Club Band, the song is performed by comedian Steve Martin, who portrays the character Maxwell Edison. Frankie Laine also covered the song as part of the musical documentary All This and World War II, which featured stock and newsreel footage of the Second World War set to performances of music by the Beatles.
The MonaLisa Twins covered "Maxwell's Silver Hammer" with a 2015 video published on YouTube Music in 2015.

Personnel

According to Kevin Howlett, except where noted:

The Beatles
 Paul McCartney lead and harmony vocals, piano, acoustic guitar, Moog synthesizer
 George Harrison harmony vocal, bass, electric guitars
 Ringo Starr harmony vocal, drums, anvil

Additional musician
 George Martin Hammond organ

Notes

References

Sources

External links

 

1969 songs
Song recordings produced by George Martin
Songs written by Lennon–McCartney
The Beatles songs
Black comedy music
Murder ballads
Songs published by Northern Songs
Music hall songs
〈Maxwell's Silver Hammer〉는 1969년 음반 《Abbey Road》의 영국의 록 밴드 비틀즈의 곡이다. 그 곡은 레논-매카트니에게 인정되었지만 폴 매카트니에 의해 쓰여졌다. 〈Maxwell's Silver Hammer〉는 망치로 살인을 저지르는 의학 학생 맥스웰 에디슨에 관한 어둡고 기이한 가사를 가진 팝송이다. 가사는 그 노래의 낙관적이고, 매력적이고, 다소 어린애 같은 소리로 변장된다. 이 곡의 녹음 세션은 비틀즈에게 힘든 시기였고, 매카트니는 그의 밴드 동료들에게 이 곡을 길게 연습하도록 압력을 가했다. 존 레논, 조지 해리슨, 링고 스타는 이 노래를 싫어하며 목소리를 높였다. 작가 이언 맥도널드는 이것을 "왜 비틀즈가 헤어졌는지를 보여주는 단일 녹음"이라고 묘사했다.

배경 
이 곡은 1968년 10월 음반 《The Beatles》를 위해 작곡되었지만 시간의 제약 때문에 중단되었다. 이 영화는 3개월 후인 1969년 1월에 다시 트위크넘 영화관에서 〈Get Back〉 세션 동안 리허설을 했지만 6개월 동안 녹화되지는 않았다. 그 영화는 두 번의 짧은 리허설이 그 시점까지 그 밴드의 진행 상황을 보여주며 함께 모인다. 레논은 《Abbey Road》 녹음을 전혀 하지 않았음에도 불구하고 일렉트릭 기타를 연주하고 있는 것으로 알려졌다. 로드 매니저와 비틀즈의 동료 말 에반스는 모루를 치는 것을 제공함으로써 참여한다.

매카트니의 아내 린다는 그가 아방가르드 극장에 관심을 갖게 되었고 알프레드 자리의 글에 몰두하게 되었다고 말했다. 이러한 영향은 〈Maxwell's Silver Hammer〉의 이야기와 어조에 반영되며, 또한 매카트니가 가사에서 발생하는 자리의 "파타피직스"이라는 단어를 어떻게 우연히 알게 되었는지에 대해서도 설명한다.

레논은 그것을 "폴의 할머니 같은 음악"이라고 묘사했다. 1994년, 매카트니는 그 노래가 삶의 몰락의 전형이라고 말했다. "제 인생에서 제가 발견하기 시작한 그 때, 갑자기 어떤 일이 잘못될 때, 종종 그러하듯이, 제 비유는 저는 그것에 대한 상징적인 것을 원했고, 그래서 제게는 맥스웰이라는 가상의 인물과 은망치를 사용했죠. 그게 왜 은색이었는지 모르겠어요, 맥스웰의 망치(Maxwell's hammer)보다 더 좋게 들렸죠."

녹음 
비틀즈는 1969년 7월 9일 런던의 EMI 스튜디오(나중에 애비 로드 스튜디오)에서 이 노래를 녹음하기 시작했다. 자동차 사고로 부상을 입은 후 8일 동안 녹음 작업에 참여하지 않았던 존 레논은 그의 아내 오노 요코와 함께 노래 작업을 하기 위해 도착했는데, 레논보다 사고로 더 심하게 다쳤으며 스튜디오에서 큰 더블 침대를 누웠다. 16번의 리듬 트랙이 만들어졌고 이어서 일련의 기타 오버더빙이 이어졌다. 사용하지 않는 다섯 번째 테이크아웃은 《Anthology 3》에서 들을 수 있다. 그 후 이틀 동안 그 그룹은 보컬, 피아노, 해먼드 오르간, 모루, 기타 등을 오버더빙을 했다. 이 노래는 매카트니가 모그 신시사이저로 솔로 곡을 녹음했던 8월 6일에 완성되었다.

그 후 녹음 과정은 레논, 조지 해리슨, 링고 스타로부터 부정적인 평을 받았다. 레논은 "나는 사고 후 그들이 대부분의 트랙을 돌렸을 때 아팠고, 그것은 정말로 조지와 링고를 땅바닥에 집어 넣었습니다."라고 나중에 "나는 그것이 싫었습니다. 폴은 싱글로 만들기 위해 모든 것을 다 했습니다. 그럴 수도 없었고, 그럴 수도 없었을 것입니다." 해리슨은 회상했다. "때때때로 폴은 우리에게 이런 과실한 노래들을 들려주곤 했어요. 내 말은, 〈Maxwell's Silver Hammer〉는 정말 과실했어요. 잠시 후 우리는 그것을 잘 해냈지만, 폴이 그의 머리 속에 어떤 생각이나 준비가 되었을 때..." 스타는 2008년에 《롤링 스톤》에서 말했다. "가장 최악의 세션은 〈Maxwell's Silver Hammer〉였어요. 그 곡은 우리가 기록해야 했던 최악의 트랙이었어요. 그 곡은 몇 주 동안 계속되었어요. 나는 그것이 미쳤다고 생각했어요." 매카트니는 회상했다. "나 같은 유일한 주장은 〈Maxwell's Silver Hammer〉에 사흘을 보내는 것이었어요. 나는 조지가 '3일이나 걸렸는데, 그건 노래일 뿐이야.' 그래서 저는 '그래, 하지만 제대로 하고 싶어.'라고 말했던 것을 기억합니다. 이것에 대해 몇 가지 생각이 있어요."

주목할 만한 커버 버전 
 1972년, 캐나다의 밴드 더 벨스는 〈Maxwell's Silver Hammer〉를 다루었다. 그들의 버전은 캐나다에서 히트를 쳤다. 그 곡은 팝 차트에서 83위, 그리고 캐나다 어덜트 컨템포러리 차트에서 2위에 올랐다.

 1978년 영화 《서전트 페퍼스 론리 하츠 클럽 밴드》에서 이 노래는 맥스웰 에디슨 역을 맡은 코미디언 스티브 마틴이 맡았다. 프랭키 레인은 또한 이 노래를 뮤지컬 다큐멘터리 《이 모든 것과 제2차 세계 대전》의 일부로 다루었고, 비틀즈의 음악 공연에 맞춰진 제2차 세계 대전의 주식과 뉴스레일을 특징으로 한다.

참여 인원 

비틀즈
 폴 매카트니 - 리드와 백 보컬, 피아노, 일렉트릭 기타, 모그 신시사이저
 조지 해리슨 - 백 보컬, 어쿠스틱과 리드 기타, 6현 베이스 기타
 링고 스타 - 백 보컬, 드럼, 모루

추가 음악가
 조지 마틴 - 오르간

각주

외부 링크 
 
 

1969년 노래
비틀즈의 노래
레논-매카트니가 작곡한 노래
블랙 코미디