The Cavern
Rock & Words
RUBBER SOUL (The Beatles, 1965)
Artist: The Beatles (A)
Recording Dates: Oct – Nov ‘65
Release Date: December 3rd, 1695. UK
Record Label: EMI Parlophone
Producer: George Martin
Rating: 9.5 MUST HAVE
Era: Rock & Roll II, Early Sixties (1960-1966)
Subgenre: British Invasion
Best Song: In My Life followed by Norwegian Wood and Drive My Car
Tracklist: 1) Drive My Car; 2) Norwegian Wood (This Bird Has Flown); 3) You Won't See Me; 4) Nowhere Man; 5) Think For Yourself; 6) The Word; 7) Michelle; 8) What Goes On; 9) Girl; 10) I'm Looking Through You; 11) In My Life; 12) Wait; 13) If I Needed Someone; 14) Run For Your Life.
This album is quite good. The most enjoyable of the Beatles' early period, although, to be honest, this one, more than an "early period," is part of the transition, the bridge that connects the rock and roll era with the Beatles' period of full artistic maturity. Many people say that this album and Revolver are parts I and II of the same project, that they are twin brothers. I've always believed that Revolver is a separate entity, and that the albums most closely linked to the process of exploration and bridging between these two Beatles periods are Help! and Rubber Soul, albums where the exploration and expansion of their sound is evident, one more acoustic and harmonic, the other where they explore melodies, sound effects, and riffs more. In any case, it is on these albums that the Beatles cease to be representatives of the Merseybeat sound and become a powerful pop machine with a sound entirely their own. Revolver cannot be considered part of the transition period, as they were at their peak, reaching the height of their creative potential and musical abilities, making it one of their best albums. Peppers is NOT better than Revolver, but we'll get to that debate later.
On the other hand, I have a lot of affection for Rubber Soul. I think it's one of the easiest-to-listen-to albums of all the band's studio LPs, not counting compilations, of course. Why? Simply because it has almost no filler (except for the unnecessary "What Goes On"), unlike the rest of the albums from their early period, which generally included one or two lesser-quality tracks, and all the songs here are charming. And unlike the later albums from their more mature period, it doesn't have difficult or hard-to-digest songs, like "Tomorrow Never Knows," "Within You Without You," or downright nonsensical ones, such as "Revolution #9," "Wild Honey Pie," "Dig It," or "Maggie Mae," to name a few. The album is a pop gem and a firm step toward the band's more mature sound. While I maintain that Help! It was THE experimental album of the 60s and the one that started it all, this was a much broader and firmer step, already a little more directed towards the psychedelia of which they would become masters.
On the other hand, doesn't it sound perfectly Christmassy? The album was intended for release in December so that legions of screaming teenagers would buy it for Christmas. It was, in fact, the band's first album that could be given a specific recording time and where they didn't have to rush around dividing their time between tours and film shoots. You won't see reindeer, snow, or Santa Clauses, and not even the cover makes any reference to Christmas, unlike For Sale, but I don't know why, but this album strikes me as the most Christmassy album without Christmas carols ever. Is it because of the omnipresent tambourines? The point is, they had plenty of time to dedicate to the studio, they were able to put much more detail into the music, and they took that great evolutionary step. Because the change is evident. They're no longer the innocent band with silly, cloying rhythms that we like, sure, but they're still silly and cloying. In other words, they realized here that they could remain a band of hysterical teenage rockers for the rest of their lives, or they could decide to become real rockers, transcend history, break down barriers with their audience, and compete with the British Invasion bands who had opened the door for them and were already hot on their heels. Dangerous bands like the Animals, the Yardbirds, The Who, or even the Stones. I think it goes without saying which decision they made.
It's not a perfect album, either. I'm not giving it a 9.5 only because of the mediocre "What Goes On." I think albums can be perfect with a bad song or two. But overall, while it's clearly much more advanced than its predecessors, it also shows that it lacks a spark of genius to reach the masterful level of later albums, and it's impossible to put it on the same level. Even so, it's a great effort on the part of the band, since they were perfectly aware during the recording process that they were going to make an album striving for sonic perfection (and understanding the term in 1965, I think they achieved it), while also exploring new sounds, and the war against the Beach Boys across the Atlantic officially began.
Musically, it's a huge leap forward, and that's evident from the first listen. The Beatles and George Martin went into the studio with the idea of using the time to innovate and explore new sounds. I don't know if it's the first time a group has used a zither in a song, but it's the first time a group has successfully recorded it. While Harrison's zither technique is still rudimentary, what he does with "Norwegian Woods" is inaugurate an era of experimental sounds that would later shape the World Music movement. And few people acknowledge that. Furthermore, in '67 everyone would be adding Middle Eastern sounds to their brilliant psychedelic songs, but no one could deny Harrison the satisfaction of having been the first. On the other hand, both John and Paul have their forays into French chanson, with "Girl" and "Michelle" respectively. George Martin began to be involved in the sound and become decisive, and we have him to thank for the wonderful solo in the middle of "In My Life," which isn't a harpsichord, but a piano, yet whose Renaissance sound would spread like wildfire to other groups. And finally, and I think no one else has acknowledged this, it's the album where Paul begins to be a bassist. That is, a real bassist, and not one of those who were content to just keep the notes. Those who say that Paul died in 1966 and that it was only then that his double began to create complex lines and delicious bass riffs, should at least listen carefully to the exquisite four-string structures of "Drive My Car" and "The Word," songs that are "pure bass," or the more understated but at the same time more complex lines of "If I Needed Someone" and "Nowhere Man," or the dynamic fuzz effect he injects into the bass of "Think For Yourself," perhaps the first recorded version of a distorted bass. Apparently, the rivalry with Brian Wilson of the Beach Boys had already begun a little earlier, and Mr. McCartney decided to seriously challenge him, starting precisely on this album. Let's remember that the single "Day Tripper," with a riff worthy of a monument, also came from these sessions. Perhaps Paul never became the best bassist of his time, but here he came close, very close, surpassed during the recording of this album only by John Entwistle, among those who stole the spotlight. And although he would continue to grow later, other giants like Jack Bruce would eventually overshadow him. He sabotaged himself after the quartet's breakup, but that's another story.
Finally, there's the lyrical aspect. Which brings me back to the previous point. I think it's a well-known fact that Paul was the sentimental one and John the intellectual when it came to lyrics. The truth is, up until Help!, they were both a couple of sentimental types and never strayed from the same theme: girls. Not even "The Woman," just girls. Let's leave that aside. Critics have rarely analyzed the true Lennon-McCartney partnership after this album. Paul remained sentimental. John was heavily influenced by Bob Dylan's sharp lyrics, leading him to write darker and more introspective songs. John would be the one to take risks with his writing, with his words. He would be the one who had to retract the harsh truth that they were more popular than Jesus Christ (in fact, I think they STILL are), and he would be the one to take a political stance on behalf of the group. Paul would remain hopelessly corny, saccharine, and cloying lyrically (to this day), and there's no defending the poor fellow. But from this album onward, he would shoulder the musical revolution of the quartet, leading the way from the bass (and sometimes without it) with increasingly complex structures, without quite reaching progressive levels, but the Beatles certainly owe Paul much of their sonic experimentation from Rubber Soul onward. McCartney's musical maturity, combined with Lennon's lyrical maturity, was what propelled the Beatles to a level utterly beyond the reach of mere mortals.
Lyrically, the leap forward is also noticeable. We have "Drive My Car," which isn't your typical Paul love song, but rather a biting satire of the Hollywood lifestyle. Paul's cynicism reaches its peak, the song's title being an old Delta Blues slang term for sex. In the song, it's already clear that a girl offers the guy a job as her driver, even though he doesn't own a car. "Norwegian Woods" would be one of the first songs with erotic undertones. It's still believed to be about a Lennon affair, but Paul recently said that John actually wrote it about a prostitute. It's not exactly a love song, especially considering he ended up sleeping in the bathroom after being kicked out by a hooker! "The Word" is a love song, but not to a girl. It's possibly the first universal and abstract love song ever written. Many would say it's the first psychedelic anthem in history. “Nowhere Man” is the first Beatles song (and I think of any band) that doesn't mention girls. There are no romantic intentions, not even remotely. It's a universal and expansive song. “In My Life,” on the other hand, is one of John's most mature facets, the other side of the introspective coin of Help!. Although the song has an apparent romantic feel, there's a universal aura, an absolute memory from childhood, an all-encompassing recollection, since ultimately the song isn't dedicated to a woman, but to life itself. Finally, “Think For Yourself” would be George's first mantra on how-to-improve-your-life-without-sounding-intrusive.
The album opens with “Drive My Car”, an exquisite rocker by Paul in which he uses all his cynicism to satirize the Beach Boys' theme of girls and cars. A girl gets a chauffeur by promising she'll become a famous actress, but in the end, she reveals she doesn't even own a car. Furthermore, the phrase “Drive My Car” is a bluesy euphemism for sex. Musically, it's a delight, showcasing the group's evolution in rock, moving slightly away from the classic rock and roll they still championed on For Sale, but without losing their powerful sound. And it's pure fun, from the delightful guitar intro (courtesy of Paul, not George), to the addictive vocal melody where Paul leads with a more shouted voice than usual, with John providing backing vocals and then George joining in to weave more harmonies into the choruses, the cowbell, the ever-present tambourines, and the semi-boogie piano that makes this a seemingly light song, but one with meticulous attention to detail and far more complex than a simple rock and roll. The "Beep Beep, Mhhh Beep Beep Yeah!" is another delightful hook towards the end. And the bass line is one of the first to showcase the great evolution McCartney would undergo on his instrument. The bass is essentially the guide and the framework, with a complex riff that was considerably more difficult by the standards of the time. The solo at 1:05 is also played by Paul, although it was Harrison who composed it. A true gem.
Next up is “Norwegian Wood”, originally titled “This Bird Has Fown,” with an acoustic sound, but considerably more psychedelic thanks to George, who decided to add the sound of a sitar, an instrument he'd been playing for a few weeks. Clearly, he hadn't yet mastered it, but he did enough to give the song much greater depth with that outlandish riff. Ringo contented himself with playing the jingle bells. Meanwhile, John played a devilish acoustic guitar solo that provided the foundation for George's work on the Indian instrument, while Paul contributed a more understated bass line, this time marking the tones. The vocal harmonies in the choruses were quite complex, taking advantage of the fact that they were recording for the first time on four-track tapes and that the technology and time allowed them to experiment with sounds and double the vocals as they pleased. Besides the sitar, another innovation was the lyrical theme. It's one of the first times a pop group addressed adultery, and more specifically, with a prostitute. "Norwegian Wood" is supposed to refer more to Norwegian wood than Norwegian forests. At that time, Paul says the middle class used pine to build their houses, but saying "cheap pine" didn't sound very poetic, so they changed the expression to "Norwegian Wood" to refer to the cheap wooden house of the girl John was with. The girl ended up making him sleep in the bathroom (probably for some rudeness), and John got the idea to light a bonfire as revenge. He didn't, because he would have burned the whole place down, but the melodramatic anecdote made for this great song.
Next up is “You Won't See Me”, featuring another dynamic bass line from Paul, a cute little piano, and more pessimistic lyrics. It's clear Paul was also starting to draw inspiration from Dylan, and from the problems he was having at the time with his gorgeous girlfriend, Jane Asher. Mal Evans plays the Hammond organ at the end of this song (or so he says; he just keeps a note). This again demonstrates Paul's evolution on bass, although this time it's not as immediately noticeable. Meanwhile, the group showcases another complex vocal structure, clearly challenging the Beach Boys, and includes adorable "Uhhhhh La La La's" that bring the song to life after the chorus.
Next up is “Nowhere Man”, another enormous lyrical leap. John says he'd spent an entire morning trying to write a meaningful song, a philosophical quest, and it had all come out as rubbish. When he gave up, he lay down on the couch and the words for the title and the song's structure came to him like a flash. It is, in fact, the band's first song that doesn't have even a remotely romantic connection. Later, it would be associated with conformity and the man who goes with the flow, but John was referring to himself, as he didn't feel like he fit in anywhere, or belonged anywhere. He was beginning to feel the ravages of Beatlemania. On this occasion, the band uses two of the tracks to assemble the vocal structure with six voices, making it one of their most complex works up to that point. The result is simply beautiful.
Then there's "Think For Yourself", George's best composition to date and a clear demonstration of his songwriting talent. From then on, his songs would begin to carry more weight on the albums and cease to be mere filler. The song was originally going to be called "Won't Be There With You" and is notable for its powerful fuzz sound. I initially thought it was George himself trying to compete with Keith Richards, but it's actually Paul, adding a distortion effect to his Rickenbacker bass for the first time. In fact, there are two bass lines in the song. One performing its normal function, with deep tones, and the second, almost layered, with a deeply distorted sound, similar to the one Richards used on "Satisfaction." It's the first recorded instance of a bass with fuzz. The two bass lines are incredibly dynamic and steal the spotlight from George himself, who is content to play rhythm guitar. In live performances, McCartney would play the normal bass and Harrison would use the fuzz effect on his guitar.
Then comes “The Word”, a proto-psychedelic anthem, in which Paul plays another, simpler bass line, but one that carries the entire song. John takes the lead vocals, but Paul and George complement him with harmonies and thirds during the choruses. A piano plays throughout the song and also provides the intro. There are no tambourines or bells here, but instead, we have a set of maracas that unify the sounds. The song is almost entirely in the key of D, with few changes, and is already a step towards unison songs like “Tomorrow Never Knows.” Lyrically, it speaks of love, but transcends the typical boy-girl romance, referring instead to a more universal love, and Lennon also lets slip some of his early political pronouncements. George Martin plays the harmonium, which is heard towards the end and gives the song a more psychedelic touch. Can I confess something? The word John refers to in the song wasn't originally "Love," it was "Dope" (Marijuana), but for obvious reasons, he couldn't be referring to the drug in 1965, not yet. If you pay attention to the lyrics, you'll see it makes sense. Hahahaha. Yep. We can say this is one of the first psychedelic songs.
The seventh song is “Michelle”, a beautiful ballad by Paul, which has a slightly French feel. Paul used to wear turtleneck sweaters, a French fashion trend, and he was sometimes asked about his French influences. So he started by writing a parody-type song, with high descending scales in the style of a chanson. A friend of his knew French and asked him for “some words that would fit well,” and she literally translated “Sont des mots qui vont très bien ensemble,” which he added to the song. Paul himself played the acoustic guitar, an Epiphone Texan that gives it that very distinctive sound, and he did so with a riff similar to the one he used on the bass. Yes, I know it's incredibly cheesy, but it's one of Paul's adorablely cheesy songs, and it's impossible not to like it.
"What Goes On" is the fly in the ointment. It's not just because Ringo sings it. Well, that's part of it. It's bad simply because it's bad. Many justify it by saying it has a Carl Perkins-esque guitar style, and so on. The thing is, it's one of the first songs Lennon wrote, back when they were still with the Quarrymen. And it shows. It's very raw despite the arrangements and efforts. The song is mere filler, thrown in for good old Ringo to play the clown once again. It's also almost a copy of the country style of "Act Naturally" from the previous album; if you put them side by side, you can barely tell the difference, so it's completely unnecessary. I insist that it's not the only thing that keeps Rubber Soul from being a perfect 10, but it does slightly mar an otherwise near-perfect album.
Next up is “Girl”, Lennon’s take on a French chanson. It tells the story of a tumultuous relationship with a girl he can’t seem to leave, but who humiliates him and makes him feel like an idiot. John can rarely be so emotional with a single syllable as he is in the chorus of this song; it really sounds like a girl is tormenting him. Lennon uses a twelve-string guitar for that sound somewhere between French and Greek. One of the song’s peculiarities is John’s deep inhalation between each “Girl” in the chorus. These “flaws” are usually smoothed out or toned down in post-production, but the band asked Norman Smith, the sound engineer, to amplify it in the treble channel as a joke. It’s also said that John did it on purpose, mimicking a marijuana puff. In the bridge, George and Paul sing “tit-tit-tit-tit-tit…” (boob) also as a joke, since they were originally going to sing “dit-dit-dit,” but the pronunciation became complicated.
“I’m Looking Through You” is another Paul song inspired by his already deteriorating relationship with Jane Asher. It features one of my favorite lines of Paul’s: “You don’t look different, but you haven’t changed…”. The song is very rhythmic and catchy, with handclaps accompanying Ringo’s drums and interspersed with tambourines, but while not bad, it doesn’t particularly stand out on the album. It seems they didn’t dedicate as much time to post-production; it lacks complex vocal harmonies and sonic experimentation like the rest of the material. But it’s not bad, and it has its charm.
Then there's "In My Life", one of the album's gems, easily rivaling any track from the quartet's later period. John achieves tremendous lyrical maturity with this timeless ballad. Although he sings to an old love, it's really a memoir, creating poignantly poetic imagery: "There are places I remember, All my life though some have changed, Some forever not for better, Some have gone and some remain." A perfect melody, with a brief but iconic guitar intro, subtle vocal interplay from George and Paul that embellishes the song, and an exquisite keyboard solo by George Martin. It's worth clarifying that it's a piano, but it was recorded at a slower tempo due to technical difficulty; when sped up to fit the song, the timbre was altered, giving the impression of a harpsichord. They weren't the first to use the harpsichord in rock, but they were the ones who popularized it. An ode to nostalgia that, on a good day, can deeply move you. Oh, I almost forgot, isn't that falsetto John uses to close the last verse perfect? One of my favorites not only from the album, but from the band.
“Wait” is another of the weak or average songs. This was originally intended for the album Help!, but was ultimately left out. They were short on time for Rubber Soul and needed to add something, so they brought this song back for the album. Harrison's guitar effect (kind of coming in and out) is more typical of the Help! sessions, and to be honest, it would have fit much better on that album; I don't understand why it was left out. Ringo added tambourine and maracas to balance it with the Rubber Soul sound, but the song doesn't quite seem to fit and lacks the musical or lyrical innovations of the rest of the material. However, John and Paul alternate lead vocals and achieve a good vocal harmony at times.
George's second contribution to the album is "If I Needed Someone", featuring an arpeggiated riff heavily influenced by the Byrds, particularly "Bells of Rhythm." The song has a simple structure, but is beautifully embellished with soaring guitar arrangements, John and Paul's backing vocals (which always sound a bit odd without George's vocals), and another driving bass line. It's a simple yet clever song, and one that already hints at Harrison's future songwriting abilities.
The album closes with “Run For Your Life”, a fun John song in which he threatens his “action girl” with death if he finds her with another guy. Simple, but cute and very rhythmic. George also makes a great contribution on guitar, playing some very interesting lines. Later, I'd say it was my favorite John song on the album. It's not that great, but it's a good ending. It's curious that there are so many songs with a certain misogynistic feel. Maybe they were also trying to compete with the Stones, hahaha!
An excellent album, with the Beatles nearing their full maturity. They still had a way to go, but it's undoubtedly a huge leap forward from Help! We can't deny that that album was the first step in the musical revolution of the 60s, but this is a continuation, and without getting stuck in the same acoustic and more folk-influenced sound, the Beatles continue their sonic revolution, pushing the studio to its limits and finally beginning to take themselves more seriously as musicians. On another note, it's interesting that this is one of the first works in which a band had complete creative control over the entire album. It wasn't conceived as an album with a few potential singles and filler material, as was usually the case, but as a cohesive unit of standard quality. While it's not a concept album, far from it, it would be the first instance of an album as a unified whole and not as a collection of scattered songs or singles chosen by the record label to make money. The band also chose the title. It was Paul's idea, inspired by a phrase he heard about Mick Jagger: "Plastic Soul," which meant that he was a white man who could sing like a black man. And the cover photo was also their choice, taken by Norman Freeman in John's garden. When he was showing them the possible options on a projector, the cardboard moved, creating an elongated effect. The guys were thrilled and asked him to keep it that way on the cover, distorted and elongated. A near-perfect album that can easily be considered the most mature record of their early period, or as I prefer to see it, the greenest album of their mature period. The album itself would have a huge impact on many contemporary bands, who would seek to expand their sound, dedicate more time to the studio, create more complete works, include more instruments… You can't conceive of Pet Sounds without Rubber Soul. And it's not exactly a psychedelic album, but it's the link just a step behind, from which all the colorful hippie movement would derive just a few months later. And without a single cover… Definitely a must-have.
By Corvan
Dic/28/2010
