Rubber Soul (1965)

Rubber sould was released less than four months after Help!

Think about that for a minute.

Having watched the Anthology TV series, its clear that the relentlessness of their schedule, the writing, recording, TV appearances, touring home and overseas, the constant demands must have been wearing. Something that might have been novel in 1963, but three years on, almost unbearable. No time to be themselves, to walk among is aas mere mortals, these were Beatles, Gods of popular music.

And then the pressure for something new.

These were the times when releasing three albums a year was written into contracts, and so artists had to deliver. But on top of that, was the expectations of the whole world: where would The Beatles go and do now?

It was recorded during October, when the band was free of any other commitments, which must have been for the first time in their short career.

The album was preceded by the double A side single, "We Can Work it Out"/ "Day Tripper". "We Can Work it Out" was my entry point into the band, and a single I bought second hand in about 1980, during my heavy metal period.

I no Longer have it.

Side 1.

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"

Side 2.

1. "What Goes On"
2. "Girl"
3. "I'm Looking Through You"
4. "In My Life"
5. "Wait"
6. "If I Needed Someone"
7. "Run for Your Life"

The album's 14 tracks clocks in at a second under 36 minutes. Songs arrive, but never overstay their welcome. "Drive my Car" kicks things off, a familiar Beatles song for sure, but listening to it on this their sixth album, the progression is obvious. Again this is a song that could have been recorded sixty years ago, or sixty hours ago. It has a good beat, twangy guitars, especiall at the end, and Lennon and McCartney's shared vocals. It all seemed so easy. And all songs on the record are penned by either the Fab duo, or my Harrison or with Ringo a joint-writer. Just four months after their last album. And film. Remarkable.

We are so used to eastern musical instruments being played on western pop records, we hardly notice. But what must have it been like to be in 1965 and hear "Norwegian Wood" for the first time, sitar and all? George had taight himself to play after hearing Ravi Shankar, and it complements the accousitic guitar perfectly, and Lennon's vocals. This song is so perfect, I could cry. I could feel emotions rising as it played. I first heard this in 1979 when my friend, owen, brough Beatles Rarities to a house party. It sounded like nothing else then, and still does now.

"You Won't See Me" is the only tack on the record longer than three minutes, and even still, when it does fade, you wish it would carry on for much, much longer. Here's the thing: I thought I would enjoy their earlier material more, but the depth and sophistication of this and the Help! is just mindblowing. You can see how the band and George Martin were now using technology for multi-tracking allowing the band to harmonise with themselved between the vocal and backing track. Again, a modern song, sixty years old.

"Nowhere Man" rolls along next. Familiar and yet stange. A simple song, little over two minutes long, with a simple break before the chorus comes back and fades. We've come a long way in the three yeas since "Love me Do". As perfect as its possible to get, he says before the next banger comes along. I think it has been good to listen to these albums in order, to appreciate how they developed, rather than having an entire body of work to plough through.

"Think for Yourself" is a Harrison penned and sung track, laden with "dirty" guitar. It rattles along. And again, think how it must have been to feel that not only were you the youngest member of the group, third singer and third song-writing too, allowed to have one or two tracks per album.

Next track, "The Word", is as 60s as its possible to be. That organ backing dates it pretty well. Not that its a bad thing, just saying.More layered vocals, trangy guitars. Would have been a hit single for anyone else, here's it's the sixth track on side one.

"Michelle" closes side 1. Paul singing, simple backing track. Pop perfection. I thought I knew the song, heard it a million times, but then just to listen, to appreciate. The yearning in the final verse. My belle.

Side two opens with "What Goes On" co written and sung by Starr. It is a step up from songs on previous albums he sang on. Starr has a good voice, and yet is the worst or fourth best vocalist in the band. But he was the best drummer, so alls good.

"Girl" is a down-tempo tune with Lennon on vocals, a simple strummed backing. Few Beatles songs seem to feature happy relationships, mostly mourn for lost love or love unrequited. Just an observation.

Paul returns to vocals on "I'm Looking Through You", starts with simple accoustic backing, then picks up after the first verse. Twangy guitar and organ features once again. Love has a nasty habit of disappearing overnight. See what I mean.

"In My Life" has a lyric older than Paul and John's tender years. Another astonishing song, timeless. And beyond my words.

"Wait" has Paul and John on vocals, and clatters along with more jangly guitars. I've been good, as good as I can be, is hardly a ringing endorsement, guys.

13th track is the Harrison written and sang "If I Needed Someone", whch shows a clear direction his writing would lead in the years to come. I would venture to say The Byrds listened to this a few times. This is wonderful, first time I have heard it. Glorious harmonies.

The album closes with "Run for Your Life", not Run for Your Wife, and an altogether scary vibe on this.

The Anthology documentary skipped over Rubber Soul and Revolver period, focussing rather an whole episode on the recording of "Free as a Bird", which is odd. These two albums were hugely influential, and its clear to see why, at least for Rubber Soul. An album showing the band maturing quickly, with Martin's studio techniques struggling to keep up with the ideas.

This is a record showing a band at the peak of their powers, but hints of future glories to come.