Archive for rubber soul

Real Best of the Beatles 2

Posted in remasters with tags , , , , , , , , on April 28, 2012 by fred6368

Q Magazine Real Best Series May 2012 

Last post we listed 10 Beatles tracks, 5 selected by Q magazine with a reply to each from me, which represent the “real best” of The Beatles – excluding the obvious tracks; so more Past Masters than All Time Greats. Rob Fitzpatrick, the Q journalist involved, also commented that “no one has ever made better tracks” even 42 years later and that “the Beatles have been instilling the idea of progressive cultural creativity since 1962.” As this blog also believes that we felt we should reply with our own ten tracks. This is part two; 5xQ 5xFred.

Our next remastered track is from 1964, in which “youngblood” Paul  transmit’s his happiness at being RSA actress Jane Asher’s partner by imagining what he might be saying to her in ten years. Q think that this is “a minor chord lament that explodes into major-chord life” 1 minute in. McCartney, who wrote the song on the yacht Happy Days in the Caribbean, said it was “future nostalgic” about Things We Said Today ;   Continue reading

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Beatles Albums 1964-65

Posted in Beatles History, Open Context Model of Learning with tags , , , , , , , , , , , , , , , on May 19, 2010 by fred6368

Beatles Creativity Phase Three; Album Artists

By the summer of 1964 The Beatles had used up all that their ears had taught them as an audience-responsive live band and recycled it back creatively as a pop singles machine. They had answered demands for a UK number one, an American number one, a movie theme tune, a classic rock n roll EP and had accidentally invented the modern rock album when they delivered the Hard Days Night soundtrack album with extra tracks, all written by Lennon and McCartney. The studious Beatles however were bored and Lennon entered his ‘fat Elvis’ period doubting the value of fame and “writing every day.”  And then Bob Dylan turned up. Bob Dylan had been blown away by the endless stream of Beatles hit records on the radio when he was driving across Colorado in the Spring of 1964 and their driving rock was to influence him and the rise of folk-rock. But the influence was mutual. George had bought Dylan’s second album Freewheelin’, played it constantly and persuaded Paul and John of its value. They met him at New York’s Delmonico’s on August 28th 1964 and Paul discovered the seven levels. Dylan’s immediate impact can be heard in John’s lyrics, tone and harmonica I’m A Loser; Continue reading

The Word is Love

Posted in rubber soul with tags , , , , , , , , , , , on August 19, 2009 by fred6368

RUBBER SOUL

Rubber Soul holds a special place in my Beatles iconography as it is the first album I bought at the time it came out. Actually I got lucky, we were in Germany and a lots of goods were tax free. That immediately cut the price by 25% but we were also allowed on to Allied bases and just 20 miles from Hamm was Soest and the legendary Canadian Army PX. Just like today, and all times in between, albums were cheaper in North America, so you could get an album then for around a £1, about 60% of what we would normally pay. However this also meant that you were at the vagaries of whatever was fashionable in Canada, which fortunately at that time, like the rest of the world, did include the Beatles.

I’ve commented previously on how every Beatles album had a track that sounded like an unreleased single. This time they were legion, indicating the quality of their writing, playing and collaborations in the studio.

Brian Wilson of the Beach Boys commented to his wife at the time that every track was a classic and then went off and wrote Pet Sounds as a riposte, despite Mike Love’s effort to stop him. Our own teenage response to Rubber Soul was an endless debate about what the best track was. Michelle, Girl and Norwegian Wood gained early support back in 1965.

I was 15 when I first heard Rubber Soul, trapped in Boarding School, abandoned in my little German enclave, and without access to Top of The Pops just before Pirate Radio rescued us when it seemed to colonise all of Europe in 1966. For me personally it was 1962 all over again.

With Rubber Soul The Beatles moved from cultural heroes to counter-cultural heroes, almost, like Orson Welles, living their lives backwards. Only their lives were even more remarkable than the Citizen with the mark of Kane, and they didn’t lose any of their booming popularity, beep, beep yeah.

So, as was customary, they gave us a bright and cheerful opening track to hook us in; old pros and consummate entertainers. Drive My Car, driving song; metaphor or opening gambit? Or Both?

Awake now? Ready to take a journey? Continue reading

Unbutchered

Posted in Unbutchered with tags , , , , , , , , , , , , , , , on August 10, 2009 by fred6368

THE BEATLES UNBUTCHERED

The Beatle’s albums are often divided into early period Beatlemania and late period mature artists. Their run of classic albums is universally seen as beginning with Rubber Soul. Difficult for me to disagree with that as Rubber Soul was the first album that I bought and, from Sgt Pepper onwards, each new Beatles Album was BOTH a media event and a musical event, as well as being a coherent artwork. From the perspective of the twenty first century it seems obvious that an album is an album, but at the time Beatles albums were thrown together as they rushed around the world, burning up records. However my own interest in the Beatles is because they created new forms; they imagined new futures. Perhaps they didn’t realise they had invented the rock album until Brian Wilson released Pet Sounds; his response to Rubber Soul. Despite the coherence of Rubber Soul and Revolver my guess is that Sgt Pepper was the first album that they consciously planned as an art work. What we mostly got in the sixties was the “outlier genius” of the Beatles, accidentally creating new possibilities.

As we look back at Rock’s rich tapestry, the Beatles are seen as a corner stone; actually no, they are the foundations, they created its lineaments, one of which is the album as art form. For me their only pre-cursor in popular music is Frank Sinatra’s 1954 (!) “In The Wee Small Hours” a concept album shot through with coherent brilliance. I am going to leave aside that classic quartet of jazz albums recorded in 1959, as jazz’s relationship with the album is different, and argue that Beatles invented the album in it’s modern creative form. And, secondly I am going to argue that they achieved this with Hard Days Night. The reason we didn’t recognise this at the time is that Hard Days Night was (just!) a soundtrack, Beatles for Sale was weak and HELP! was also a soundtrack; leaving Rubber Soul to be revealed as their first stand alone album work of genius.

Now I disagree with George, and others, who see Rubber Soul and Revolver as a dyptich. For me the great divide in Beatles albums is between Rubber Soul and Revolver. Why? Because they went from being great songwriters playing their songs well to being the first great musicians of the recording studio, Pet Sounds notwithstanding. Rubber Soul is both the last album of the glorious Beatles Band and the last of the mid-period Beatles. For me the “mid-period Beatles” released three classic albums.

1) Hard Days Night, a stumble upon multi-media classic

2) Unbutchered; Digg It! The one they put together as their first bite of the Apple

3) Rubber Soul; the delicious flowering up of their genius

And the stone classic five-star album Unbutchered, as we all know, starts with Eight Days a Week. Here’s the cartoon version; Continue reading