The Beatles—Rubber Soul
As far back in The Beatles discography as I’m willing to go, Rubber Soul marks the beginning of the band’s unique creative journey. Upon re-listening, I found myself much more appreciative of this album than once thought.
Returning from their 7th world tour in less than 5 years, The Beatles entered the studio for the first time uninterrupted by outside commitments. Prior to Rubber Soul The Beatles maintained a grueling schedule of touring, video/radio appearances and constant writing and studio work. On their ’65 US Tour, the band met Bob Dylan and Elvis Presley, the former an inspiration the latter an idol. Enlivened by their US folk/rock awakening and reflective on the Motown style they benefited from, Rubber Soul began to take shape. While free of most outside commitments, the band was still under a strict schedule to have album out before the end of 1965, they entered the studio on October the 12th. What would later become standard for the band took bloom in these recording sessions. The band began to seek out creative alternatives to standard recording procedure and began introducing instrumentation never used in pop music before. This is the first time the sitar appeared in The Beatles’ music, and the first time a Harmonium (pump organ) was recorded for a rock album. The album has gone on to achieve 6x platinum status and is the band’s 4th best selling album overall.
Similar to my introduction to Revolver, Rubber Soul came into my awareness in the late aughts. This album contains no number one singles, though the non-album singles released as promotions “Day Tripper” & “We Can Work It Out” recorded during the Rubber Soul sessions both achieved #1 status. While this album still contains some boy-band flair from their earlier work, it is a fork in the road which holds up across the board. The album roars to a start with one of my favorite pop songs of all time “Drive My Car.” The majority McCartney lead song entrances with a catchy chorus, while also serving up a fair amount of Beatle snark over a not yet famous girl telling a boy he can be her chauffeur. The second song “Norwegian Wood,” is the first time The Beatles introduced sitar to their repertoire. There is something so entrancing about this song. The guitar and sitar mesh so well with one on the R stereo and the other on the L. The lyrics tell of a failed sexual encounter and the morning after, where the narrator burns down her home of good Norwegian wood. The next Lennon song “Nowhere Man,” begins to address the singer’s dissatisfaction with himself… but through the new lens of LSD. “Nowhere Man” is a simple song which uses many old Beatles tricks, but begins to exhibit a real maturity in the band’s work. The final Lennon song of the impressive A side of this record is “The Word.” Besides the lack of psychedelic music, this song would fit right in on Magical Mystery Tour. The band was not new to discussing love, but this is the first time they discuss it with universality. Side B is less memorable than the first, but is not without its merits. Ringo received his first songwriting credit as a co-composer of the lead in track “What Goes On.” This is the most “country” the album gets while still maintaining the rock sensibilities prevalent throughout. Harrison came into his own on “If I Needed Someone” towards the end of the album. The song tells the tale of a love no longer reciprocated after too long of a wait. This song shows off Harrison’s snark and wit which make him an underrated Beatle. The album ends with my least favorite Beatles’ song “Run For Your Life.” This song is disgusting and toxic in its portrayal of jealousy and attraction. It is a gross listening experience for the modern ear.
Must Listen To: Norwegian Wood (This Bird Has Flown)
This re-listen and research cemented this song as my favorite from the album. While this song has some of the misogyny of “Run For Your Life,” it reads as much more fantastical. Knowing Lennon’s history with domestic abuse makes “Run For Your Life,” a lurid reflection of a deplorable human. Lennon was not known for his acts of arson, and thus the retribution against this woman is poetic and fictional. Cleverly written, the spark or fire of their tryst didn’t work out is mirrored by the narrator’s creation of a physical fire in the girl’s room to feel some warmth after a cold night in the bath. Isn’t it good?
