The Cavern
Rock & Words
HELP! (The Beatles, 1965)
Artist: The Beatles (A)
Recording Dates: Feb – Jun 1965
Release Date: August 6th, 1965. UK
Record Label: EMI / Parlophone
Producer: George Martin
Rating: 9
Era: Rock & Roll II, Early Sixties (1960-1966)
Subgenre: British Invasion
Best Song: Help!, Ticket to Ride, or Yesterday
Tracklist: 1) Help!; 2) The Night Before; 3) You've Got To Hide Your Love Away; 4) I Need You; 5) Another Girl; 6) You're Going To Lose That Girl; 7) Ticket To Ride; 8) Act Naturally; 9) It's Only Love; 10) You Like Me Too Much; 11) Tell Me What You See; 12) I've Just Seen A Face; 13) Yesterday; 14) Dizzy Miss Lizzie.
I think it's very difficult to grasp the true significance of this album today. It sounds a bit dated now; while not bad, it's overshadowed by other enormous albums from the group, but to be honest, it's not the band's best album. However, upon closer examination, this album, THIS ONE and not Sgt. Pepper's or Revolver, could be the most revolutionary Beatles album and the one that shaped the history of rock as we know it. WHAT??? Has Corvan lost his mind??? Let's take it one step at a time. First of all, this is a giant leap for the Beatles compared to their previous release, and not only compared to For Sale, but it's a turning point compared to their first four albums. In fact, it's a very revolutionary sound for 1965, and it represents the beginning of the transition towards a more mature sound, as the absolute masters of pop, and it begins the distancing from the rock and roll that predominated in previous albums, and especially in For Sale. It's not that the rock and roll phase was bad; The Beatles rescued the genre, popularized it, and were perhaps at the time the best rock and roll band on the planet, but rock and roll was quickly losing its appeal, and it was necessary to explore new horizons. And Help! is precisely what it does. The sounds that would come later with Rubber Soul, Revolver, and Sgt. Pepper's Lonely Hearts Club Band would definitely be more impactful and of much higher quality, but they all have their origins in Help!, and it's impossible to think of those albums without the transition that began right here. Popular music in the 60s couldn't have remained stuck in three- or four-note rock and roll indefinitely, nor in songs about cars and girls. Perhaps in terms of style, it could have lasted a couple more years, but the times demanded more depth, more substance, and Help! would be the first step for the group (and consequently for all the bands under their influence) toward a more elaborate sound and more intelligent lyrics, which would lead to the hippie revolution of 1967.
I think there's a key name in all of this: Bob Dylan. Mr. Zimmerman had already emerged from obscurity and become a highly influential figure, transforming folk into a powerful and weighty weapon, albeit for a more niche audience. The Beatles hadn't escaped this influence, and although their encounter with Dylan had occurred a year earlier at the Dolmenico Hotel in New York, where they first tried marijuana, the singer-songwriter's and the drug's influence wasn't felt until this album. On one hand, Bob was a factor in the album's acoustic sound. Again, the Beatles weren't the first to blend folk with rock; the Byrds had beaten them to it a few months with the masterful album Mr. Tambourine Man. But we can say that the Beatles achieved better results, and even that the sound of Help! was what catapulted the Byrds' sound. On the other hand, Dylan's influence on Lennon was enormous, and he was always the pinnacle of his lyrical ambition, but this influence was first noticeable in "I'm A Loser" from For Sale, and more notably in "Help!", which opens and titles this album. Bob revolutionized the world of rock with his lyrics, adding a previously nonexistent depth, but it was Lennon who popularized this style by adding more complex lyrical work than the average rock lyric. In the case of the songs I mentioned, John even shows much more courage than Bob in revealing his vulnerability. The lyrical revolution with personal and social content cannot be understood without the important work of both Bob Dylan and The Beatles, in a symbiosis and mutual influence that led to the musical evolution and explosion of the summer of '67. One writing hard-hitting protest lyrics within the folk genre, and the other adding, for the first time, lyrics with substance to a mainstream genre like rock.
In the album's melodic, acoustic, carefree, bright, and joyful aspect, I think Dylan's influence shines through the marijuana. In fact, by that point, the guys were so fascinated with weed that they smoked it constantly during filming, and Ringo and Paul even inadvertently crossed the Austrian border on one of their trips to smoke pot. Of course, the sounds aren't as bright and strobing as on Sgt. Pepper's, which was more influenced by LSD, but the marijuana is definitely present in the naturalness, joy, and intelligence with which they blend the sounds. It's a stark contrast to For Sale, which sounds somber and forced, as if reflecting the immense burden of Beatlemania. The album, then, would be a huge musical leap, one that's barely noticeable now because they would go on to make much more polished albums. But by 1965, the album's sounds were an earthquake that changed rock, giving it a twist towards a deeper, more intelligent pop sound and creating significant musical shifts in its structure, not only through the blend of folk and lyrical evolution, but also through the insertion of strings in "Yesterday" and the drum work in "Ticket to Ride," which would ultimately lead to rock being considered a truly serious and artistic endeavor, not just a teenage game. For all these reasons, Help! is an indispensable album in the history of rock, for its evolution, the door that the Liverpool quartet opened for other groups to embark on an unprecedented musical revolution, reaching audiences far broader than just hysterical teenagers. And that's why I consider it perhaps the true revolutionary album of the Beatles and of the 60s, as it begins the transition from the 50s-based sound to the rock that would define the late 60s. It's not their best, but it was the first step in many, many ways.
On the other hand, it's incredible how the Fab Four managed to create such diverse albums, each with its own distinct personality and a unique, easily identifiable sound, yet all bearing the unmistakable Beatles stamp. Help! is a very acoustic, harmonious album. While not all the songs are ballads, there's a calmer, more relaxed, and yet more cheerful atmosphere, as if the guys were getting used to what must have been a ton of weight around their necks called Beatlemania (Paul once said, "Only four people in the world know how terribly difficult it was to be a Beatle," and I honestly believe him). In that respect, this is also perhaps one of the first rock albums where the influence of drugs is noticeable. By then, marijuana was more of an escape from the pressures of fame than a true muse, but it affected, whether intentionally or not, the sound of the Beatles and later other groups. It also served as the bridge that would later lead them to experiment with more potent drugs.
The album opens with “Help”, a masterful Lennon song where Bob Dylan’s influence is most evident. An acoustic rocker that begins with a furious guitar riff and a captivating intro, perfectly crafted with vocal harmonies and the interplay of backing vocals singing “Help!” while John responds (or rather, cries for help) and George plays delightful descending figures to mark the key change. The intro ends with a falsetto scream from Lennon as Harrison plays a lightning-fast arpeggio to finish and lead into the verses. No song by the quartet up to that point has such a tremendous opening, seriously. The song is perfect, full of hooks, vocal interplay, intensity, and tempo changes to heighten the drama, like at 1:30, where John is practically alone with his guitar. The Beatles are improving, not only as individual songwriters but also as a collective that knows how to work together flawlessly to create songs that, moreover, are becoming increasingly complex. This is a true classic from the band, a must-have not only on compilations of their early period but on their entire discography. Lyrically, if you watch the film, you might get the impression that they're asking for help to remove Ringo's ring to prevent his sacrifice by that absurd and bizarre sect. However, John would later admit that he was actually asking for help because of the personal anguish he was feeling at the time. "I'm A Loser" marked Lennon's first song in this introspective and frank vein, but this one is far more accomplished. Both songs inaugurate John's sharp pen, which would initially be very personal (Norwegian Woods, Strawberry Fields) before becoming more critical and biting (Revolution, Sexy Sadie), culminating in the heartbreaking Plastic Ono Band as a solo artist. This is the beginning; Lennon loses his fear of exposing himself and writing about personal matters during this period. John begins his transition to mastering substance over style, while Paul starts in the opposite direction, focusing on style over substance with "Yesterday," but we'll get to that later. "Help!", in any case, is a huge song, and while "Yesterday" is the most covered song in history, "Help!" has some very interesting versions by Deep Purple, the Carpenters, Roxette, Tina Turner, Caetano Veloso, Rick Wakeman, Marc Bolan, Bananarama, Oasis, and even Dolly Parton, among others.
Next up is “The Night Before”, a minor track on this album, but one that could have easily stood out on any of the previous ones. This is Paul's work, featuring excellent melodic work and, once again, commendable vocal harmonies. The Beatles demonstrate that the opening track was no fluke and that they can compete head-to-head with the Beach Boys in this area. Furthermore, the electric piano plays a prominent role, performed by none other than John! Yes, it's light, but it's impossible not to love it from the first listen. The solo at 1:30 isn't groundbreaking, but it 's still charming and catchy without being cloying. A good song, showing that Paul is also taking himself more seriously as a songwriter.
John returns with “You've Got To Hide Your Love Away”, showcasing an even more pronounced Dylan influence. The song is practically acoustic, with a strong folk feel, featuring only a few bass guitar riffs in the chorus and a tambourine accompaniment. Dylan's influence is even noticeable in John's vocals, which are more nasal than usual. However, it's not plagiarism at all; it has nothing to do with any of Bob's melodies, except for the song's overall spirit. John again reveals his inner self and delivers a superb lyrical performance, this time addressing his own frustration, but also sending a hidden message in the title to his manager, Brian Epstein, who was still hopelessly in love with John. The vocal melody is ebb and flow, rhythmic, and well-crafted. The musical arrangement seems simple, and it is, but it has some more complex elements than they initially appear, particularly during the bass lines in the choruses. John Scott provides a beautiful flute arrangement in the coda. Another great song with all the hallmarks of Lennon.
Now it's George's turn with "I Need You". This is his first contribution to the album (he also wrote "You Like Me Too Much," though less polished), and he clearly doesn't want to be outdone in terms of songwriting. Perhaps up to this point, this is his best song, with an acoustic foundation and an ethereal effect on his guitar, achieved by adjusting the volume control while strumming. A truly unprecedented effect. Speaking of which, Ringo adds an irresistible cowbell rhythm, delivering a percussion performance on the track (and throughout the album) unlike anything he'd ever done before. The song is lovely, a beautiful ballad that could have easily been a standout on any previous album, but here it seems somewhat average compared to John's overwhelming talent. The song is dedicated to Patti Boyd, who would soon become his wife, and it showcases the sensitivity of George that would later be reflected in songs like "Here Comes The Sun" and "Something." It's obviously not at the same level, but it's a huge step forward as a songwriter compared to his previous songs.
We continue with Paul's "Another Girl". It follows the same vein as "The Night Before"—a solid, very rhythmic song with a certain country feel thanks to the driving beat and great vocal harmonies. But despite being good, it's not quite up to the standard of what John has shown so far and is a bit repetitive. By the way, Paul plays lead guitar on this track and does all those country-tinged arrangements himself. I think it's the first time someone has taken on Harrison's role, if memory serves.
Next up is “You're Gonna Lose That Girl", where John returns to a more subdued level. It's not a bad song either, but it carries that aura of pessimism and revenge that could have easily fit on For Sale. Had it made the cut, it would have been one of the album's highlights. The song's standout feature is the complex three-part vocal harmony, unlike anything they'd done before, proving once again that they could compete with the Beach Boys whenever they wanted.
Fortunately, "Ticket To Ride" follows, another highlight of the album and another timeless classic. The melody is irresistible, and the vocal melody achieved with Paul's soaring backing vocals is truly remarkable. The opening arpeggio that runs throughout the song is perfect, with hints of pre-psychedelia and a noticeable Byrds influence. Incidentally, Paul again plays lead guitar, so the arpeggio is his to play. However, Ringo steals the show with his incredibly difficult and revolutionary reverse drumming. In fact, part of the song had to be reworked around the drums, requiring some changes. Ringo demonstrates his talent as a drummer in this early stage of the band, but it's on this album that he truly shines. Many even claim this is the first metal song (HA!) because of the drum sound and the bass line's depth. The coda features a dizzying double-time ending, with John singing in a curious falsetto for a grand finale. Regarding the meaning, it's said to be about a girl "buying a ticket out of her life" or to go far away. Paul would later say that it was partly inspired by images of buying a ferry ticket across the River Mersey from Liverpool, but John, with his dark sense of humor, would say he was inspired by the tickets men bought from prostitutes in Hamburg for a "ride."
Then there's "Act Naturally", one of the two covers on the album, this one sung by Ringo. It's not that I don't like Ringo's singing (although I think it's a waste considering George, Paul, and John are there, but I understand the whole democracy and camaraderie thing), but Ringo just keeps playing the clown. I think it's a poor selection of covers, but at the same time, it's jarring that the two most lackluster songs on the album are precisely the ones that aren't his own. I like the song even less considering that the one that was supposed to take its place on "Anthology II" was "If You Got Trouble," with its spectacular drumming and not as silly as this one. Perhaps Ringo was determined to emphasize that "Movie Star" persona he adopted after filming A Hard Day's Night.
Next up is "It's Only Love", which is quite cheesy lyrically by Lennon's standards, but the music manages to work. The guitar playing is very agile, and the intro riff, which is repeated periodically, is good, catchy, and has an addictive tremolo effect. Furthermore, the interplay of tones and rhythms works perfectly. The lyrics are the issue, as I mentioned, but on the other hand, this is the only Beatles song that includes "I Get High" and wasn't censored by the BBC. Interestingly, John would later disown it (perhaps because of the lyrics), but even though it sometimes gets cloying for me, I won't deny that I like it and occasionally play it on guitar.
Next up is “You Like Me Too Much”, George’s second song on the album. It’s not a masterpiece, and it even falls short of the level of “I Need You,” but George is showing that he’s also grown as a songwriter, and this is the first album where he’s “given permission” to include two of his own compositions. The keyboards make another appearance, and the solo, where guitar and keyboards call out to each other, is a highlight. It’s catchy and all, but it’s unlikely to make it onto any of the band’s compilations, much less be considered a classic. It’s simply a good contribution from George that doesn’t feel out of place at all with the rest of the album.
Next comes “Tell Me What You See”, mostly McCartney's own work, a very solid pop song where John and Paul sing in unison, with John occasionally stealing the vocal spotlight. The keyboard once again makes its presence felt amidst George's distinctive reverse strumming. It's not particularly memorable, and even sounds somewhat like the Dave Clark Five, but Paul demonstrates that he can also create folk-influenced songs with some success.
And this song confirms it. “I've Just Seen A Face” would be Paul's best song here if it weren't for “Yesterday.” A song of pure guitar riffs, with a frenetic rhythm in both the instrument and the unrestrained phrasing. Paul plays his guitar practically like a banjo, and George delivers a delightful solo using the lower tones of his guitar to create a completely new and exquisite sound. Yes, Mr. McCartney has definitely been listening to Mr. Dylan, taking the best of his influences without it sounding like plagiarism at all, adding some touches of western and bluegrass. The song is very simple, but addictive, and it's another one I never tire of playing on acoustic guitar.
Next comes the song that broke all records for cover versions ever made. A large part of Sir Paul's fortune is due to "Yesterday", which, despite being incredibly overplayed and having been heard countless times, cannot be denied its greatness. Legend has it that Paul dreamed it up one night when he stayed overnight at his girlfriend Jane Asher's house (what understanding in-laws, although they actually sent him to another room). He was so amazed that he didn't even realize it was his own composition, and he was sure it must be a memory of some classical piece. But he was so captivated by the melody that in the morning he rushed to the piano so as not to forget it. When he showed it to George Martin a month later, Martin confirmed it was his own work, and they immediately set to work on it. It was originally going to be called “Scrambled Eggs” (imagine the horror!), but when Paul realized the true potential of the melody, he added more serious and introspective lyrics, perhaps the only ones that could rival Lennon's in that respect. He spent about four months mulling it over, and, with the pressure of finishing it for the film, Paul completed the lyrics and decided on the title in one go. George Martin told him it was impossible for the rest of the group to participate without ruining it, so Paul agreed to let Martin add a string section to accompany the acoustic guitar. The string arrangement is magnificent, delicate, and truly elevates Paul's guitar playing to an almost classical grandeur and majesty. This was the first pop song to use chamber music arrangements, but what's important is that it was done so perfectly and harmoniously with the spirit of the song. It's worth noting the work of both of them: Paul creating such a sublime melody and the best lyrics he had written up to that point, and Martin finding the only arrangement that could fit the song, AND MOREOVER, daring to record it, since it was something unprecedented. I know the song has been played to death, and that might diminish its appreciation, but it was truly such a revolutionary song in its time, opening the door to the use of orchestrations that would become so common in psychedelia. It also opened the door to a more mature audience, not just teenagers. Now it wasn't just teenage girls swooning over Paul; housewives and people of all ages and social classes were also captivated by the song. And if that weren't enough, for the first time, music experts stood up and asked, "What is this? How can a bunch of long-haired guys create something so delicate and sublime?" Yes, it's the most overplayed song in history, but there must be a reason for that.
The album should have ended with this gem. Unfortunately, the guys seemed determined to include a rock and roll track that would tie them to their old sound, to their roots. And they couldn't have had a more disastrous result than with "Dizzy Miss Lizzy", with its annoying, repetitive riff and John screaming with horrifying abandon. It's clear he's trying to reach the intensity of rockers like "Twist & Shout," but it has to be said, he fails miserably and only manages to unnecessarily mar the album's closing track. But again, it's commendable that the two worst songs are the only covers on the LP.
In short, a great album, far surpassing the quality of the film. It's not that the film isn't funny, but Help! is a very silly movie aimed at a very silly audience. It had its reasons in its time, but without a doubt, the best thing about it is the soundtrack it produced on this tremendous album, which revolutionized many aspects of Rock & Roll that was already starting to sound outdated (Ah! That's the word I was looking for for For Sale!!!). Help! It would be surpassed by Rubber Soul and subsequent albums, but in my opinion, this one caused the greatest revolution at the time: It began the fusion with folk, the evolution towards a more structured and mature sound, moving away from rock and roll, the transition towards deeper and more introspective lyrics in at least three tracks on the LP, the incorporation of classical elements, the advancement of Paul, George, and John as songwriters in the face of competition from other bands that were already nipping at their heels, it opened the doors to a wider and more mature audience, and it won the admiration of critics who had hated them just months before. All of this had an effect on other groups and on the appreciation of the sounds it unleashed. Help! accelerated the maturation of rock and began the transition towards the psychedelic sounds that would explode just a year later. Finally, it proved that the Beatles didn't need covers at all, but were perfectly capable on their own.
It's not perfect, but while I understand those who say this album is still part of the Beatles' early period, I disagree with those who say it's stupid, banal, and aimed at hysterical girls—the same audience that *For Sale* was targeting just a few months earlier. In fact, I prefer to see it as their first, most inexperienced album, representing their mature and intelligent phase as masters of pop. I even recommend it as a starting point for exploring the Beatles' discography if you're one of those rare souls who, until now, has only listened to compilations or individual songs on Rock Band.
Interestingly, it's not a definitive album in the Beatles' discography, as they would go on to create works that far surpassed it, but it is their most revolutionary album, and perhaps the most definitive for the history of rock. Yes; I've got it: if I had to choose just one album that changed history, it would be Help!. Period.
By Corvan
May/17/2010
