I run my fingers over the keys, knowing full well that for hard-core Beatles fans, this moment would be a fantasy come true. The wear and tear from decades of studio recording is evident; the ivories look as if an animal has scratched them to pieces.

“It was [also] used on the U2 sessions,” Holley concedes.
Holley begins to break down the various elements of the complex for me. Because the industry makes fewer classical records these days, Studio One has been repurposed for recording and mixing film soundtracks. Studio Two, where Zeppelin is supposedly hiding today, is the most requested room by rock bands, and it’s where the Beatles made nearly all their records. Studio Three, slightly smaller and the birthplace of most of Pink Floyd’s albums, is also occupied at the moment. The Penthouse Studio was built in 1980 and utilized by punk/new-wave bands like the Buzzcocks and the Cure. It’s now primarily used for digital mixing in films.

Another 17 rooms are dedicated to mixing and mastering records and digital remastering from analog sources. A video department was recently added — and Holley notes with pride that the very first commercially available DVD in the UK was made here at Abbey Road.

Beatles folklore has it that after particularly grueling marathon recording sessions, Abbey Road engineers often left and headed to a nearby pub to decompress. Holley says that’s no longer necessary, and he walks me down a flight of stairs to the in-house restaurant.

“We’ve pulled the pub to us!” he exclaims. “This is where people tend to decompress, a bit too much for my liking at times! Artists will come and have a drink, [and] orchestra players …

“It’s one of my favorite rooms,” he adds. “You see all sorts of people in the same place whom you don’t see together [normally].”

Holley remembers one particular day at the studio when the unlikeliest group of clients was wandering in and out of the cafeteria: British rock band Starsailor, teenybopper boy band McFly, Roger Waters from Pink Floyd, and operatic tenor Plácido Domingo. “That was one of the most bizarre days,” he recalls.

Technology has advanced so much, though, that it’s now common for musicians to never leave their house to create a high-quality recording. So, then, why is a studio still necessary?

“There are different ways you can make things,” Holley explains. “If you want a performance-based record, then you need a space that sounds good, [and] we’ve got a few of those.

“I actually think, whatever business you’re in, that it’s that walking-down-a-corridor moment — where you work with someone,” he emphasizes. “Something comes out of a cup of coffee around a machine. When you work together, two brains are more than twice the value of one brain. I think coming together to work in a community, and coming to a place where there are traditions of working together, with people who are used to doing that, I think you get far more than just working on your own.”

The tradition of collaboration at Abbey Road extends back to 1931, when EMI transformed a 16-room mansion into the world’s first custom-built recording studio. In addition to Elgar, prominent composers and musicians like Sir Yehudi Menuhin, Noel Coward, Artur Schnabel, Fred Astaire, and Fats Waller made recordings here in EMI’s early years.

During World War II, the studio remained open for BBC radio broadcasts and hosted wartime entertainers like Gracie Fields and George Formby. In 1944, Glenn Miller made several recordings with Dinah Shore, which ended up being his last-ever sessions: He died in an accident a few weeks later.



Technical advances were absorbed by Abbey Road throughout the 1940s and ’50s, including the long-playing record, four-track equipment, new magnetic tape, and noise limiters. Pop music and comedy were replacing classical sessions. Comedians like The Goon Show’s Peter Sellers and Spike Milligan were now scheduling studio time alongside pop stars like Eddie Calvert, Ruby Murray, and Sir Cliff Richard, whose 1958 single “Move It” is considered England’s first-ever rock-and-roll record.


It’s also worth noting that Richard’s first hit came from Abbey Road — especially considering that the studio wasn’t exactly a rock-and-roll environment. At the time, it was among the most strict and buttoned-down of all the London studios, with a precise apprenticeship structure and a rigid dress code. Balance engineers wore white shirts and neckties and sat in the control room. The maintenance engineers wore white lab coats and were the only ones allowed to set up microphones and other equipment. The “brown coats” were janitorial staff. Plus, because of a strong musicians’ union, normal recording hours were fixed: 10 a.m. to one p.m., lunch break, 2:30 to 5:30 p.m., and then seven to 10 p.m. Musicians would enter the studio on time, engineers would quickly set up the equipment, and within 10 minutes the session had started.

By the early 1960s, Abbey Road was regularly producing hit records for everyone from Shirley Bassey to Cliff Richard and the Shadows, Manfred Mann, and the Hollies, including Cilla Black’s version of “Alfie” with Burt Bacharach. The Beatles made their first record, “Love Me Do,” at the studio in 1962, and for the next seven years, they would make nearly all their records at Abbey Road.

The studio changed forever in 1966, though, when the Beatles vowed to stop touring live because the screaming fans kept drowning out their instruments onstage. The band planned to make only records, with the idea they would tour an album rather than tour live.