[326], Rubber Soul was voted fifth in Paul Gambaccini's 1978 book Critic's Choice: Top 200 Albums,[327] based on submissions from a panel of 47 critics and broadcasters including Richard Williams,[328] Christgau and Marcus. McCartney began to insist that, when recording his compositions, the Beatles adhere to arrangements he had decided on in advance. "[25][26] This was the final Beatle album that recording engineer Norman Smith worked on before he was promoted by EMI to record producer. [182] Capitol sequenced "I've Just Seen a Face" as the opening track, reflecting the company's attempt to present Rubber Soul as a folk-rock album. In doing so, Rodriguez continues, the Byrds had joined the Beatles and Dylan in "a common pool of influence exchange, where each act gave and took from the other in equal measure". [209] In the United States, Rubber Soul was their tenth album[210] and their first to consist entirely of original songs. She attributed pop's recent embrace of psychedelia and "many of the strange new sounds now in records" to the LP's influence. He describes it as an album-length confirmation of the "transformation of pop's range and reach" that the Beatles had first achieved when "Yesterday", McCartney's introspective and classically orchestrated ballad, topped US singles charts in late 1965. [170], The detached, dispassionate tone in the lyrics has invited alternative interpretations. Clearly, growing up wasn't going to be easy. [267] Turner adds that Rubber Soul "may have perplexed the old guard of entertainment correspondents, but it was a beacon for fledgling rock critics (as they would soon be called)". Rubber Soul met with a highly favourable critical response and topped sales charts in Britain and the United States for several weeks. [309] According to Sculatti, Rubber Soul was "the definitive 'rock as art' album, revolutionary in that it was a completely successful creative endeavor integrating with precision all aspects of the creative (rock) process – composition of individual tracks done with extreme care, each track arranged appropriately to fit beside each other track, the symmetrical rock 'n' roll album". McCartney used a similar phrase – "Plastic soul, man, plastic soul". '"[148], Like "You Won't See Me" and "We Can Work It Out", "I'm Looking Through You" focuses on McCartney's troubled relationship with Asher. [81] Author Bernard Gendron dismisses the commonly held view that Rubber Soul is a folk rock album; he cites its incorporation of baroque and Eastern sounds as examples of the Beatles' "nascent experimentalism and eclectic power of appropriation", aspects that he says suggest an artistic approach that transcends the genre. In 2000, it was voted at number 34 in the third edition of Colin Larkin's book All Time Top 1000 Albums. [21] During the sessions, the Beatles typically focused on fine-tuning the musical arrangement for each song, an approach that reflected the growing division between the band as a live act and their ambitions as recording artists. [76][77] The revelations provided by the drug had drawn Lennon and Harrison closer,[76][78] and were then shared by Starr when, during the band's stay in Los Angeles that August, he had agreed to try LSD for the first time. Freeman showed the photos by projecting them onto an album-sized piece of cardboard to simulate how they would appear on an album cover. The Robert Freeman cover of "Rubber Soul" from 1965. [133][134] With little time to complete Rubber Soul, the song was reworked by Lennon and McCartney as a vocal spot for Starr,[135] who also received his first songwriting credit, as co-composer. Even the cover was innovative, in part due to the fact that “we were full-fledged potheads,” as George Harrison mused. [136] The song is in the country style favoured by Starr,[136] and in its lyrics the singer laments his lover's deceit. "[263], The writers of Record Mirror's initial review found the LP lacking some of the variety of the group's previous releases but also said: "one marvels and wonders at the constant stream of melodic ingenuity stemming from the boys, both as performers and composers. [288], Conversely, Jon Friedman of Esquire finds the work vastly overrated, with only the Lennon-dominated songs "Norwegian Wood", "Nowhere Man", "In My Life" and "Girl" worthy of praise, and he dismisses it as "dull" and "the Beatles' most inconsequential album". 5 … Click here to download PDF copy, [contact-form-7 id=”7056″ title=”Instant Quote”], “Rubber Soul” Reveals The Punny Side of The Fab Four, https://pure-music.co.uk/wp-content/uploads/2020/01/Rubber-Soul-album-cover.jpg, https://pure-music.co.uk/wp-content/uploads/2015/03/logo.png, Photographer’s Then-Girlfriend Gets Her Nude Bottom On Album Cover, Pronounced ‘Leh-‘nerd ‘Skin-‘nerd Album Cover. Rubber Soul was the group's first release not to feature their name on the cover,Template:Sfn an uncommon tactic in 1965. It's a fitting product from a quartet just beginning to explore their inner selves on record. [28] They were nevertheless in the unfamiliar position of being able to dedicate themselves solely to a recording project, without the interruption of any touring, filming or radio engagements. 1.First “Loud Cut” pressing. "[161] The band completed the track on the final day of recording for the album, overdubbing tone-pedal lead guitar, percussion[162] and a new vocal by McCartney onto the June 1965 rhythm track. There are two full cover versions of Rubber Soul available. The band were not usually present for the stereo mixing sessions. [247] "Michelle" became one of the most widely recorded of all the Beatles' songs,[249] while cover versions of "Girl", "If I Needed Someone" and "Nowhere Man" similarly placed on UK or US singles charts in 1966. The album was available both as an individual CD release and as part of the Beatles (The Original Studio Recordings) box set. [181], Through the mix of predominantly acoustic-based songs, according to Womack, the North American release "takes on a decidedly folk-ish orientation". Pepper. [187], The album title was intended as a pun combining the falseness intrinsic to pop music and rubber-soled shoes. in February 1966 with the aim of reflecting the sophistication brought to the genre by Rubber Soul and Dylan's Bringing It All Back Home – the two albums that, in music journalist Barney Hoskyns' description, "arguably gave birth to 'rock' as a more solid concept than 'pop'". [95] Author and critic Kenneth Womack describes the lyrics as being "loaded with sexual innuendo", and he says that the female protagonist challenged the gendered expectations of a mid-1960s pop audience, as an "everywoman" with ego and a clear agenda. 's,[34] was recorded but remained unreleased until 1996. [322], Citing a quantitative study of tempos in music from the 1960s, Walter Everett identifies Rubber Soul as a work that was "made more to be thought about than danced to", and an album that "began a far-reaching trend" in its slowing-down of the tempos typically used in pop and rock music. It was a critical success topping the music charts in the United States, United Kingdom, Australia, Sweden, and West Germany. [15] John Lennon was encouraged to address wider-ranging issues than before in his songwriting through Dylan's example. "[264] By contrast, Richard Green wrote in the same magazine that most of the album "if recorded by anyone but the Beatles, would not be worthy of release", with many of the tracks devoid of "the old Beatles excitement and compulsiveness". [81] Andrew Loog Oldham, the Rolling Stones' manager and producer at the time, has described Rubber Soul as "the album that changed the musical world we lived in then to the one we still live in today". The band reacted favorably to the elongated photo and wanted that on the cover. [302] This in turn was reflected in The Village Voice's appointment of Richard Goldstein, a recent graduate and New Journalism writer, to the new position of rock critic, in June 1966,[303] and the Beatles' central role in achieving cultural legitimisation for pop music over 1966–67. The Beatles Unveil 'The U.S. Albums' Box Set in January", "Swedish Charts 1962 – March 1966/Kvällstoppen – Listresultaten vecka för vecka > Januari 1966", "Top Compact Disks (for week ending May 30, 1987)", Cámara Argentina de Productores de Fonogramas y Videogramas, "ARIA Charts – Accreditations – 2009 Albums", Australian Recording Industry Association, "Brazilian album certifications – The Beatles – Rubber Soul", Associação Brasileira dos Produtores de Discos, "Canadian album certifications – The Beatles – Rubber Soul", "Gold-/Platin-Datenbank (The Beatles; 'Rubber Soul')", "British album certifications – The Beatles – Rubber Soul", Recording data and notes on mono/stereo mixes and remixes, This Bird Has Flown – A 40th Anniversary Tribute to the Beatles' Rubber Soul, Live! [154][155] In Gould's description, the song "owed a conscious debt" to the Miracles' contemporary hit "The Tracks of My Tears" and thereby served as "the most recent installment in the lively cultural exchange between Motown's Hitsville Studios and EMI's Abbey Road". The original North American version of the album, issued by Capitol Records, contained ten of the fourteen songs and two tracks withheld from the band's Help! I may even get one for myself. [257][258] While outlining to American readers the differences in the UK-format release, KRLA Beat said Rubber Soul was an "unbelievably sensational" work on which the Beatles were "once again ... setting trends in this world of pop". [261] Like Newsweek, The New York Times had belittled the group when they first performed in America in February 1964, but following the release of Rubber Soul, entertainment critic Jack Gould wrote an effusive tribute in the newspaper's Sunday magazine. [268][nb 18] Writing in Esquire in 1967, Robert Christgau called it "an album that for innovation, tightness, and lyrical intelligence was about twice as good as anything they or anyone else (except maybe the Stones) had done previously". The “Rubber Soul” album released in the United States did not have “If I needed Someone” on it, nor “Drive My Car.” “If I needed Someone” was the song right after “And Your Bird Can Sing” (my FAV on the album) on “Yesterday and Today,” the butchered babies album that got covered up with a more “respectable” cover. Pepper as the birth of progressive rock,[324] Everett and Bill Martin recognise Rubber Soul as the inspiration for many of the bands working in that genre from the early 1970s. [286], In an article coinciding with the 50th anniversary of its release, for The Guardian, Bob Stanley lamented that Rubber Soul was often overlooked in appraisals of the Beatles' recording career, whereas Revolver and The Beatles had each gained in stature to surpass Sgt. "[290] In author David Howard's description, "pop's stakes had been raised into the stratosphere" by Rubber Soul, resulting in a shift in focus from singles to creating albums without the usual filler tracks. "[215] The band's softer musical approach on the album and their use of nostalgic imagery increased their bond with their fans. "[218] Writing in 2015, historian Marc Myers commented: "For most American teens, the arrival of the Beatles' 'Rubber Soul' ... was unsettling. [292] John Cale recalled that Rubber Soul was an inspiration as he and Lou Reed developed their band the Velvet Underground. ", "Cash Box Top 100 Singles – Week ending April 2, 1966", "Deconstructing Pop Culture: How Many Records Did the Beatles Actually Sell? From early 1966, record companies in the UK ceased their policy of promoting adult-oriented entertainers over rock acts, and embraced budget albums for their lower-selling artists to cater to the increased demand for LPs. F. Narvaez. [32] The Beatles completed "Wait" for the album, having taped the song's rhythm track during the sessions for Help! [266] Author Steve Turner also highlights the comments made by the Melody Maker and Record Mirror reviewers, who were typically aged over 30, as indicative of how UK pop journalists lacked "the critical vocabulary" and "the broad musical perspective" to recognise or engage with progressive music. [297], In his chapter on Rubber Soul in the Cambridge Companion to Music's volume on the Beatles, James Decker credits the album with effecting the "transformation" of 1960s pop. [60] The lyrics evoke Lennon's youth in Liverpool and reflect his nostalgia for a time before the onset of international fame. ", "American album certifications – The Beatles – Rubber Soul", Recording Industry Association of America, "The Rubberization of Soul: The great pop music renaissance (show 35)", "Album Review: The Beatles – Rubber Soul [Remastered]", "The Beatles: The Long and Winding Repertoire", "The Beatles' Rubber Soul is 50: and it's still ahead of its time", "50 Years of 'Rubber Soul' is 50: How the Beatles Invented the Future of Pop", "Villains and Heroes: In Defense of the Beach Boys", "What a 50-Year-Old Beatles Album Can Teach You About Creativity", "Radiohead challenge Fab Four as Bends leaves Sgt Pepper in the cold", "101 Albums That Changed Popular Music, By Chris Smith", "The 500 Greatest Albums of All Time: 35. [62] In Prendergast's description, "bright ethnic percussion" was among the other "great sounds" that filled the album. The jacket was a favorite of Lennon’s in 1965 during the height of Beatlemania. “Rubber Soul” Reveals The Punny Side of The Fab Four. The photo was taken by photographer Robert Freeman and it was set in the garden at John Lennon’s house. [128] MacDonald recognises the "distant influence" of Wilson Pickett's "In the Midnight Hour" and James Brown's "Papa's Got a Brand New Bag" on the song's rhythm, and highlights Starr's drumming (for its "feast of eccentric 'backwards fills'") and McCartney's dextrous bass playing. [105] The arrangement also includes seven vocal parts and Martin playing suspended chords on harmonium. album. While the Beatles still largely stuck to love songs on Rubber Soul, the lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities.Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds. [50] The variety in guitar tones throughout the album was also aided by Harrison and Lennon's use of capos, particularly in the high-register parts on "If I Needed Someone" and "Girl". [232] As the more popular of the joint A-sides, "We Can Work It Out" became the Beatles' sixth consecutive number 1 on the Billboard Hot 100 chart, all of which were achieved over a twelve-month period from January 1965. [57][nb 3] Using fuzz bass on "Think for Yourself", and employing a piano made to sound like a baroque harpsichord[59] on "In My Life" added to the exotic brushstrokes on the album. [281] In his 1979 essay on the Beatles in The Rolling Stone Illustrated History of Rock & Roll, Marcus wrote: "Rubber Soul was an album made as an album; with the exception of 'Michelle' (which, to be fair, paid the bills for years to come), every cut was an inspiration, something new and remarkable in and of itself. It is unclear whether the singer is just observing the fire and reflecting on the 'hip' modern furnishings, or as Paul McCartney later claimed,[99] the singer decides to burn down her pine-panelled home. [256] Allen Evans of the NME wrote that the band were "still finding different ways to make us enjoy listening to them" and described the LP as "a fine piece of recording artistry and adventure in group sound". [175][nb 10] Performed in the country style,[174] it was the first track recorded for the album and features a descending guitar riff played by Harrison and slide guitar parts. [173] The idea for the "stretched" effect of the image came about by accident when Freeman was projecting the photo onto an LP-size piece of cardboard for the Beatles' benefit, and the board fell slightly backwards, elongating the projected image. Stanley highlighted Rubber Soul as having been "a good 18 months ahead of its time" and "the first album of the rock era that sounded like an album". Having opened the review by saying, "The Beatles sound more and more like music", he concluded of the album: "Their blend is excellent, their performance smooth, and their charm, wit and excitement run high. [67] "Drive My Car" is a McCartney composition with substantial contribution from Lennon with the lyrics. "[284] Scott Plagenhoef of Pitchfork describes the album as "the most important artistic leap in the Beatles' career – the signpost that signaled a shift away from Beatlemania and the heavy demands of teen pop, toward more introspective, adult subject matter". [180] The four songs were replaced with "I've Just Seen a Face" and "It's Only Love", which had been cut from Help! [344], A newly remastered version of Rubber Soul, again using the 1987 Martin remix, was released worldwide as part of the reissue of the entire Beatles catalogue on 9 September 2009. "[265], In another review that Richard Williams later cited as an example of the British pop press not being "quite ready" for the album, Melody Maker found the Beatles' new sound "a little subdued" and said that tracks such as "You Won't See Me" and "Nowhere Man" "almost get monotonous – an un-Beatle-like feature if ever there was one". [45] Author Philip Norman similarly writes that, with the Beatles increasingly drawn towards EMI's large cache of "exotic" musical instruments, and the band's readiness to incorporate "every possible resource of the studio itself" as well as Martin's skills as a classical arranger, "Implicitly, from the very start, this [music] was not stuff intended to be played live on stage. [67], Until late in their career, the "primary" version of the Beatles' albums was always the monophonic mix. This is a regular feature where we examine the story behind the music and the cover artwork of a classic release from the past few decades. McGuinn later likened the exchange of ideas between British and American musicians during the mid 1960s to an "international code going back and forth through records". [119] In Prendergast's description, the track "burst[s] forth with all the gusto of newly discovered psychedelia", as Lennon's lead vocal "luxuriates in an opiated haze of production and Harrison's Fender Stratocaster solo fuzzes with all the right hallucinatory sparkle". [10] Author Robert Rodriguez highlights the Byrds as having achieved "special notice as an American act that had taken something from the Brits, added to it, then sent it back". [10] In September 2020, Rubber Soul was ranked at number 35 on the same publication's new list. [4] The album reflects the influence of their month in America. Jul… [228] As of 1997, it had shipped over 6 million copies there. [45][173] In her study of the Beatles' contemporary audience, sociologist Candy Leonard says that, although some young listeners were challenged by the band's new direction, "With Rubber Soul, the Beatles came to occupy a role in fans' lives and a place in their psyches that was different from any previous fan–performer relationship. [238] After their inclusion on the EMI-format LP, "Norwegian Wood", "Nowhere Man" and "Michelle" were each issued as singles in various markets outside Britain and America,[239] with "Norwegian Wood" topping the Australian chart in May 1966. In 2013, Rubber Soul was certified platinum by the BPI for UK sales since 1994. The picture is uncropped and undistorted, and has never been published. It has been certified 6x platinum by the RIAA in the US, platinum in the UK, New Zealand, Canada, Australia, and Argentina. [298] Music historian Simon Philo also sees it as heralding the experimentation that characterised late-1960s rock. The album cover is a throwback to the Beatles’ Hamburg days and Astrid Kirchherr’s photos. Rubber Soul (englisch Gummiseele [als Wortspiel]; vergl. The title derives from the colloquialism "plastic soul" and was the Beatles' way of acknowledging their lack of authenticity compared to the African-American soul artists they admired. [240] "Nowhere Man"'s first release in North America was as a single A-side,[94] backed by "What Goes On", in February, before both tracks appeared on Yesterday and Today. Buy Rubber Soul. ["The Word" is] all about gettin' smart. [160][168] In MacDonald's view, the song is influenced "far more" by Indian classical music than by the Byrds, through Harrison's partly Mixolydian melody and the presence of drone. [280] Greil Marcus described it as the best of all the band's LPs. [339], Rubber Soul appeared in Rolling Stone's 2014 list of the "40 Most Groundbreaking Albums of All Time", where the editors concluded: "You can say this represents 'maturity,' call it 'art' or credit it for moving rock away from singles to album-length statements – but regardless Rubber Soul accelerated popular music's creative arms race, driving competitors like the Stones, the Beach Boys and Dylan to dismantle expectations and create new ones. A different colour saturation was used by Capitol Records for Rubber Soul‘s US version, which made the red logo look brown or green, depending on the pressing.. Rubber Soul was the first album by The Beatles not to feature the group’s name on the cover. It has been certified gold in Brazil and Germany. [231] The album was number 1 for six weeks in total; it remained in the top twenty until the start of July, before leaving the chart in mid December. Beatles Rubber Soul album cover Music Album Cover Silk Poster 24x24inch-60x60cm Unframe ALBUMTT. [205] On the day of the album's release, the Beatles performed at the Odeon Cinema in Glasgow,[206] marking the start of what would be their final UK tour. Gould refers to it as "a rueful rain check of a love song" directed to the "right person at the wrong time",[171] while, according to Jackson, "the lyrics address all the women of the world, saying that had he met them earlier [before committing to Boyd], it might have worked out, but now he was too much in love (but give me your number just in case). Comment Report abuse. With reference to the mass appeal of "Michelle", Everett comments that McCartney's song proved more popular than "Nowhere Man" on the radio playlist compiled by, Marcus also said that it was this album focus that nullified any potential argument "that the Beatles' first four LPs, in their British configurations (, In Gendron's description, one of two substantial early pieces by Goldstein was a laudatory assessment of, Harper also said: "After a few times on the turntable, you realised that the goal posts had been moved, forever, and you really wanted to hear the next record – now. [133] Decker likens the lyrics to a less philosophical version of "Think for Yourself" in which "the narrator has grown, yet the woman has failed to keep up. No one else expects to hit a peak at 23 and never develop, so why should we? "This Bird Has Flown" is a tribute to the Beatles "Rubber Soul" album. [14], Two years after the start of Beatlemania, the band were open to exploring new themes in their music through a combination of their tiring of playing to audiences full of screaming fans, their commercial power, a shared curiosity gained through literature and experimentation with hallucinogenic drugs, and their interest in the potential of the recording studio.
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