There's nothing I can add about the songs that hasn't already been written except to say they are timeless jewels. It's hard to believe that not one of the songs on RS made it high enough to be a "1"!
So let's talk about the next most important part: the sound quality. Simply put, it is absolutely remarkable. I have the 80s release of other Beatles albums and the sound is okay (translation: marginal but tolerable for general listening). Before buying the Rubber Soul 2009 remaster, I thought "1" sounded pretty good, given that the original recordings were done on what is now prehistoric equipment. I was simply not ready for the the crisp, vibrant sound of RS 2009 release. It sounds great in the car, on the home stereo, and on the IPOD as an MP3 (ripped with EAC 0.99pb5 and Lame 3.98.2). Simply "WOW!" isn't strong enough.
I bought the Rubber Soul remaster to see if it was worth getting the others. Okay, it is and I will. I can't wait to get the rest of the collection. And if you didn't already know, this CD is in stereo even though it doesn't say so on the cover. It's based on the George Martin stereo mixes done in the 80's, which I prefer over the mono mixes. |
| I'll admit it ... I'm a lifelong Beatle's fan. I'm the one they're selling these re-mastered records to. I'm an easy mark. But I'm also a pro-musician and can appreciate the quality of these records. The Beatles, George Martin and their engineers did a great job of recording these songs back in the 1960's and it's wonderful to hear them in all their glory. I own the entire collection but Rubber Soul and Revolver were always my favorite records of The Beatles. The Word, Michelle, In My Life, Girl, etc., never sounded so good. If you own a good set of headphones, do yourself a sonic favor and listen to these records in that environment. |
All Beatles ablums had shown progression from their predecessors, but 'Rubber Soul' represented a significant creative leap, both musically and lyrically. The Beatles begin to push the boundaries of pop and rock, incorporating jazz, folk-rock, soul, and World Music influences. Nearly every song features unusual arrangements or instrumentation (piano, organ, harmonium, fuzz bass, sitar, French lyrics, Greek-style guitar lines), and a clear development in vocal technique (particularly harmonies) is obvious. Lyrically, the band begin to move beyond boy/girl themes, most obviously in 'Nowhere Man' and the proto-hippie 'The Word'. But even those songs that are still based on relationships deal with the issue in a more mature and sophisticated way, expressing at different times uncertainty, longing, frustration, humiliation or thinly-vieled sexual suggestion. 'Rubber Soul' is the sound of The Beatles growing up.
'Drive My Car': jazzy piano-driven opener turns the traditional boy/girl dynamic on its head. An excellent, slightly raw, performance from McCartney on vocals, with excellent support from the others on harmony.
'Norwegian Wood': famous for the incorporation of Harrison's sitar, which suits this folky song so well it's hard to imagine anything else taking its place. The significance of the music sometimes means Lennon's quite controversial lyrics (which again reverse the traditional relationship dynamic) are overlooked. A key track in the Fab Four's development.
'You Won't See Me': proof that McCartney is just as capable as Lennon at writing songs expressing uncertainty and doubt. Superb call-and-response harmonies in the chorus and bridge.
'Nowhere Man': folk-influenced song notable for being the first Beatle song to move beyond relationships entirely. Also possibly one of Lennon's first forays into social commentary, although his lyrics are more sympathetic than scathing. Possibly the best and most developed harmonies on the album.
'Think For Yourself': by far the weaker of the two Harrison songs. After the maturity of the first four songs, this throwback to more traditional boy/girl themes seems dated and even a bit misogynistic. The fuzz bass is good, but probably makes the song seem more interesting than it actually is.
'The Word': another song to move beyond relationships, as Lennon exults about "The word...Love!" in its more abstract sense. Yet another song to feature very clever vocal harmonies and shifts. Note also the heavy distortion and effects applied to both piano and guitars, and the swirling organ during the bridge clearly anticipates the psychedelia of the following year.
'Michelle': McCartney ballad in the mould of 'Yesterday', the song expresses hope, longing and uncertainty. Notable for its liberal use of French lyrics.
'What Goes On': country-tinged rocker sung and partially composed by Ringo. His deadpan, slightly mournful vocals suit the song's "what have I done to deserve being treated like this?" theme.
'In My Life': one of Lennon's best songs, part-autobiography and part-love song, as he notes that none of his past associates compare to his current companion. Famous for featuring a piano sped up to sound like a harpsichord during the bridge.
'I'm Looking Through You': expresses similar sentiments to 'You Won't See Me' but with a harder edge musically and lyrically. The tension and urgency in the lyrics is emphasised by sharp harmonium stabs at the end of each verse.
'Girl': arguably the most mature song here, as Lennon laments a girl who seems to take sadistic pleasure in humiliating her lovers. Sung in a very world-weary, resigned fashion, complete with heavy sighs. Incorporates elements of Greek music, most obviously on the instrumental bridge.
'Wait': this was a 'Help!' out-take and it shows, as it's clearly the simplest song here. A bit of a throwaway compared to other songs on the album, but pleasant enough.
'If I Needed Someone': the first George Harrison gem. Driven by a simple but beautiful guitar riff and featuring exquisite harmonies, this is one of the highlights of the album, and a clear demonstration of Harrison's development as a songwriter.
'Run For Your Life': another song Lennon disowned, perhaps because of its relatively simplistic lyrics. However, like 'You Can't Do That', Lennon uses the macho posturing as a means to disguise a deep insecurity. One of the more conventional rock songs here, it's quite a forceful way to close the album.
Both 'We Can Work It Out' and 'Day Tripper' were also recorded during these sessions. Both songs match the development on display here, and both would have fitted well on the album.
'Rubber Soul' represents a turning point in The Beatles' sound, and also to an extent their image. While still recognisable as being the work of the Fab Four, the album's more ambitious tracks clearly point the way forward to the more radical experimentation of 'Revolver' and 'Sgt Pepper'. A key, essential part of The Beatles catalogue. |
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