Revolver Deep Dive Part 3: I’m Only Sleeping

Revolver

Side One, Track Three

“I’m Only Sleeping”…or So He Said!

by Jude Southerland Kessler, Don Jeffries, and Bob Wilson

Through 2023, the Fest for Beatles Fans blog will explore the intricacies of The Beatles’ astounding 1966 LP, Revolver. This month, Don Jeffries and Bob Wilson of the fascinating new book on the “Paul is Dead” controversy, From Strawberry Fields to Abbey Road: A Billy Shears Story, join Jude Southerland Kessler, author of The John Lennon Series, for a fresh, new look at track three of this landmark LP.

What’s Standard:

Dates and Times Recorded, Studios Used:

27 April 1966 (Studio 3 from 11.30 p.m. – 1.00 a.m.)

29 April 1966 (Studio 3 from 5.00 p.m. – 1.00 a.m.)

5 May 1966 (Studio 3 from 9:30 p.m. – 3.00 a.m.)

6 May 1966 (Studio 2 from 2.30 p.m. – 1.00 a.m.)

Source: Lewisohn’s The Complete Beatles Chronicle and The Beatles Recording Sessions

Tech Team:

Producer: George Martin

Engineer: Geoff Emerick

Second Engineer: Phil McDonald

Instrumentation and Musicians:

John Lennon, the composer, sings double-tracked lead vocals and plays acoustic guitar on his 1964 Gibson J-160E.

Paul McCartney sings harmony vocals and plays bass. Some sources claim he used his 1964 Rickenbacker 4001S bass. Others, just as adamantly, state Paul used his Hofner. Rodriguez says the Hofner was used to get “those tiptoeing bass sounds.” In The Anthology, George Martin states that Paul played the lead line with George Harrison. In Here, There, and Everywhere, Geoff Emerick seconds this assertion. (p. 124)

George Harrison sings harmony vocals and plays lead guitar. However, no source, including Babiuk’s Beatles Gear, identifies the guitar Harrison was using for the dramatic “backwards” guitar solo. And if, as Martin and Emerick insist, Paul played lead simultaneously, we do not know what instrument Paul was employing either.

Ringo Starr plays his 1964 Ludwig Oyster Black Pearl “Super Classic” drum set.

Sources: The Beatles, The Anthology, 211, Lewisohn, The Complete Beatles Chronicle, 219-220, Lewisohn, The Recording Sessions, 77-78, Emerick, Here, There, and Everywhere, 124, Rodriguez, Revolver: How The Beatles Reimagined Rock’n’Roll, 129-132, Margotin and Guesdon, All the Songs, 328-329, Winn, That Magic Feeling, 15 and 18, Hammack, The Beatles Recording Reference Manual, Vol. 2, 132-134, Turner, A Hard Day’s Write, 106, Mellers, Twilight of the Gods: The Music of The Beatles, 71-73, MacDonald, Revolution in the Head, 161, Riley, Tell Me Why, 185-186, O’Toole, Songs We Were Singing: Guided Tours Through The Beatles Lesser Known Tracks, 116-118, Spizer, The Beatles for Sale on Parlophone Records, 200, Davies, Beatles Lyrics, 150-153, Womack, Long and Winding Roads: The Evolving Artistry of The Beatles, 129 and 139, Spignesi and Lewis, 100 Best Beatles Songs, 180-182 and Cardinale, “The Spark of Inspiration” found at https://medium.com/synapticalchemy/the-spark-of-inspiration-2e51272d0dcd.

What’s Changed:

As Kenneth Womack perceptively observed in Long and Winding Roads: The Evolving Artistry of The Beatles, “Where Rubber Soul is about The Beatles’ self-conscious redefinition of themselves and their art, Revolver is about taking those new-fangled models of themselves and their art out for a proverbial spin. This album is about revving up the engines of their musicality…about The Beatles’ desire to push the boundaries of their achievement, to experiment…” (p. 129)

And experimentation is precisely what John Lennon is about here in “I’m Only Sleeping” as he cleverly recreates his favorite place: the enchanted world of sleep-inspiration, the birthplace of that cherished “spark of after-midnight.”

In his blog “The Spark of Inspiration,” Stephen Cardinale poetically observes: “The spark of inspiration is…a force that pulls you from your slumber and won’t allow you to rest until you’ve imprinted the ground with that spark from the heavens.” Very early on, John Lennon discovered and utilized this field of somnambulant stimulation, and throughout his career, he would credit it with the stimulus for songs such as “Across the Universe” and “Watching the Wheels.” In the slim space between wake and slumber, John encountered the shadowy land where (for him) great ideas exist.

In “I’m Only Sleeping,” John utilizes every “bell and whistle” at his disposal to recreate the fertile fog of semi-consciousness. Calling upon the genius of The Beatles and the musical acumen of George Martin and Geoff Emerick to help him bring this world to life, Lennon employs sophisticated technical tricks – and a few simple ploys – to set an elaborate stage for us all…and to wave a welcoming hand toward his “Land of Nod.”

Robert Rodriguez, in Revolver, How The Beatles Reimagined Rock’n’Roll, states, “Just as when you’re a hammer, everything looks like a nail, so it was in 1966: if you were a Beatle, every sound was fair game to be sped up, slowed down, turned backwards, doubled, and otherwise sliced and diced.” And here, John and the band do precisely that; they create extraordinary sound effects that pull us into Lennon’s exotic reality. These devices include:

Frequency Modulation – On page 15 of That Magic Feeling, John C. Winn tells us, “On 27 April, The Beatles…taped 11 takes of John’s new composition, ‘I’m Only Sleeping.’ These were played in the key of Em, but with the tape running fast.” (At 56 cycles, Lewisohn tells us in The Beatles Recording Sessions, p. 76) “This gave the song a more languid, dreamy quality when played back” at normal speed, at 47¾ cycles, Lewisohn states. (The Beatles Recording Sessions, p. 76) The resulting exotic harmonies skew away from the harmonies of “This Boy.” They are equally lovely, but now also haunting.

Rodriguez explains that John’s vocal was recorded with the tape rolling more slowly than customary. (In The Beatles Recording Sessions, p. 77, Lewisohn tells us it ran at 45 cycles.) Then, when the tape proceeded at normal speed in playback mode, John’s voice became “more dreamlike,” more ethereal, and removed. (pp. 130-131)

The Beatles had become fascinated with frequency modulation in making “Rain.” And here it was carefully applied to veil John’s sleepy song in the drowsy cobweb of half-consciousness.

Use of Backwards Tracks – The Beatles used 17 seconds of backward guitar in the body of “I’m Only Sleeping” and another ten seconds in the fade-out. That’s all. And to capture this beautifully bizarre sound, it took six hours of intense work. Geoff Emerick claims it was nine hours of labor (p. 124), and Hunter Davies, in The Beatles Lyrics, claims it took 12 hours. (p. 151) This may seem rather extravagant, but as Spignesi and Lewis state, when The Beatles “wanted an effect, they moved earth and sky to achieve it.” (p. 181) The curiously curling and writhing guitar is the essence of the sleep soundtrack: the stuff of dreams.

Here is how George Martin explained the “very strange” technique employed to achieve the sound: “In order to record the backward guitar on a track like ‘I’m Only Sleeping,’ you work out what your chord sequence is and write down the reverse order of the chords – as they are going to come up – so you can recognize them. You then learn to boogie around on that chord sequence, but you don’t really know what it’s going to sound like until it comes out again. It’s hit or miss, no doubt about it, but you do it a few times, and when you like what you hear, you keep it.” (Spignesi and Lewis, 180) That sounds logical – doable, even.

But in Here, There, and Everywhere, EMI Engineer Geoff Emerick claimed the process was “one hard day’s night!” (p. 124) He says it “turned out to be an interminable day of listening to the same eight bars played backwards over and over and over again.” (p. 124)

As mentioned earlier, Beatles scholars disagree about whether or not Paul joined George in playing the backwards line. But all agree that two guitar parts were recorded. In The Beatles Recording Sessions, Lewisohn says, “[The Beatles] made it doubly difficult by recording two guitar parts – one ordinary and one a fuzz guitar – which were superimposed on top of one another.” Similarly, O’Toole in Songs We Were Singing, states, “Martin…had to conduct Harrison beat by beat, with the guitarist ultimately recording two separate solos – one with fuzz effects or distortion, and one without. Martin then laid the tracks on top of one another…” However, Hammack in The Beatles Recording Reference Manual, Vol. 2 says that “on May 5^th, McCartney and Harrison added lead guitars to the song…The solos (one with fuzz distortion added) were recorded simultaneously.” One guitarist or two? We may never know definitively. But the artistry and care given to this song is just shy of miraculous.

3. Simple Sound Effects – Of course, not all of The Beatles’ “sound effects” in “I’m Only Sleeping” were groundbreaking. At 1:57 in the song, you can hear someone (presumably, John) say, “Yawn, Paul.” And at 2:01, Paul yawns. It’s not a highly complex maneuver, but it adds the perfect final touch in the recreation of John’s Muse-inhabited realm of sleep. And as O’Toole remarks, “…it represents [The Beatles] at their most experimental to date…nothing was off limits for this 1966 masterpiece.” (Songs We Were Singing, 116)

A Fresh New Look:

Don Jeffries is the author of myriad books including Bullyocracy: How the Social Hierarchy Enables Bullies to Rule Schools, Work Places and Society at Large; On Borrowed Fame: Money, Mysteries, and Corruption in the Entertainment World, and Hidden History: An Expose of Crimes, Conspiracies, and Cover-Ups in American History. Don is a lifelong Beatles fan, and we’ve shared many in-depth conversations about Beatles music on his popular I-Heart Radio show, “The Don and Ella” show.

Bob Wilson is well-known in The Beatles World for his very popular podcast with Warren Brown, “Tomorrow Never Knows” and his intriguing solo podcast, “Don’t Pass Me By.” He has also contributed several articles to Beatles Magazine.

This month, Don and Bob Wilson are releasing their first venture into Beatles investigative research. After interviewing numerous Beatles friends and experts about the “Paul is Dead” controversy, they will soon be releasing From Strawberry Fields to Abbey Road: A Billy Shears Story. Here are their insights on “I’m Only Sleeping.”

Jude Southerland Kessler: Don and Bob, John wrote many songs about sleep in his Beatles and solo career. Sleep was a muse to him, a mystical place to seek inspiration. And sometimes, it was simply a place to escape. How do you view sleep in this particular rendition? Is John talking about shutting out the world or letting in creativity?

Don Jeffries and Bob Wilson: We know that John loved to sleep and also to lie in bed. Apparently, his bed was a kind of refuge for him. It’s no accident that the “Give Peace a Chance” video took place during John and Yoko’s “Bed-In for Peace.” John would touch upon the theme of sleep in other songs, such as “I’m So Tired.” During his solo career, he wrote both the scathing attack on Paul McCartney, “How do you Sleep?”(on which Harrison also played) and the aptly titled “Number 9 Dream.”

But John’s “bed-in” time didn’t necessarily note slothfulness. In fact, In “I’m Only Sleeping,” to quote author Hunter Davies in Beatles Lyrics, “The words are sharp and succinct, not at all the mark of a lazy lyricist. John loved his bed. When he wasn’t sleeping, he was often propped up on pillows, writing…John loved to stay in bed creating and writing.”

Lennon needed sleep to create; many of his songs touch on this. John famously described how “Nowhere Man” came to him, “the whole damn thing, as I lay down.” Similarly, the words to “Across the Universe” came to him as he lay in bed after an argument with Cynthia. Here, John lauds the creative process he always enjoyed in “half-sleep.” Sam Kemp of Far Out magazine referred to “I’m Only Sleeping” as “an ode to the importance of being idle.” But this sort of idleness is equivalent to receptiveness, not oblivion. John is listening, thinking, and creating.

Kessler: I so agree! We are alerted to John’s wakefulness from the very first line of the song when he sings: “When I wake up early in the morning…” And as the song progresses, John reminds us that he is “keeping an eye on the world going by my window.” Clearly, John is not sleeping but existing in that dozing state in which ideas flow freely.

What do you like about “I’m Only Sleeping”? What’s its charm for you?

Jeffries and Wilson: I almost always love Lennon’s melodies. His voice here, as it regularly does, draws the listener in. I consider Lennon to be the greatest vocalist in the history of popular music. He could make any song contagious.

As he would do in his song “I’m so Tired,” Lennon seemed to have a special talent for melodies that make the listener think of sleep, or even feel sleepy. All anecdotal evidence suggests that Lennon’s inordinate amount of time spent in bed made him an expert on the subject.

The dreamlike sound in “I’m Only Sleeping” was enhanced by its E minor key. Furthermore, as Jude indicated in the “What’s New” segment of the blog, new studio tricks were used to create that very atmosphere. The backing track, as she explained, was recorded faster and then slowed down when played back at average speed. This evoked the image of “running through deep water” or “moving in a dream.” (And, of course, John’s lead vocal was processed in the opposite way to produce a high-pitched, far-away sound.)

Simpler techniques in the recording also catch my attention. For example, Paul actually yawns during the song. And John’s word choices cleverly evoke a “hussssshed” feeling of sleep: lazy, crazy, speed, staring, ceiling, shake me. The song’s repeated “s” and “sh” sounds lull us.

However, I’m not the only one who admires this song. Steven Spignesi and Michael Lewis, in The 100 Best Beatles Songs, rate it at #57. They call it: “One of the band’s drowsiest, most lethargic songs” but point out that it has “John’s cleanest and most well-written lyrics.” (p. 182) And in Revolution in the Head, noted author Ian McDonald says, “‘I’m Only Sleeping’ with its dreamy multitracking, a dim halo of slowed cymbal sound, and softly tiptoeing bass is…deep in artifice. The Beatles…[created] a new sonic environment.” And while admitting that the song’s theme is sleep and lethargy, MacDonald notes that “I’m Only Sleeping” was “more active than anything [John Lennon] had written since ‘Girl.’”

Kessler: Don and Bob, some music critics have claimed that this song is about drug usage, not sleep. Which theory do you support and why?

Jeffries and Wilson: I don’t think there are any drug inferences here, although certainly, the ethereal nature of the song might lend itself to being listened to while smoking marijuana. People have often claimed drug messages in Lennon’s songs. Lennon’s lyrics were sometimes ambiguous enough to be open to multiple interpretations, but in this case, it seems pretty clear that it’s a simple song about the joys of half-sleep and the creativity found there.

In his book Long and Winding Roads: The Evolving Artistry of The Beatles, Dr. Kenneth Womack notes that a big difference is observed when John is writing about drugs and when he’s writing about sleep. When he’s writing about drugs, John is adrift, floating downstream. For example, “In ‘Tomorrow Never Knows,’ you turn off your mind, relax, and float downstream….truly surrender to the void.” However, in “I’m Only Sleeping,” John is floating upstream, awake and aware of what’s going on outside his window. This has nothing to do with drugs.

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Revolver Deep Dive Part 2: Eleanor Rigby

By Jude Southerland Kessler

Revolver

Side One, Track Two

“Eleanor Rigby” Lives On

by Jude Southerland Kessler and Simon Weitzman

Through 2023, the Fest for Beatles Fans blog will be delving into the fine details of The Beatles’ astounding 1966 LP, Revolver. This month network TV director, producer, and author, Simon Weitzman – best known in The Beatles’ World for his beloved film A Love Letter to The Beatles: Here, There, and Everywhere – joins John Lennon Series author Jude Southerland Kessler for a fresh, new look at a track that literally changed all we had come to know about The Beatles! Simon is co-author, with Paul Skellett, of four remarkable Beatles books: Eight Arms to Hold You, All You Need is Love, The Mad Day Out with Tom Murray, and The Beatles in 3D. We’re thrilled to have Simon with us this month and in person, in just a few days, at the New York Metro Fest for Beatles Fans!

What’s Standard:

Date Recorded:

The Home Demo was recorded by Paul in late March 1966 at Ringo’s flat in Montague Square (Winn, 7)

First EMI session, 28 April 1966, Studio Two

5 p.m.- 7:50 p.m. (Lewisohn, The Beatles Recording Sessions, 77)

Second EMI session, 29 April 1966, Studio Three

5 p.m. – 1 a.m. (Lewisohn, The Beatles Recording Sessions, 77)

Third EMI session, 6 June 1966 in Studio Three (control room only)

7 p.m. – 12 a.m. (Lewisohn, The Beatles Recording Sessions, 82)

Tech Team

Producer: George Martin

Engineer: Geoff Emerick

Second Engineer: Phil McDonald

Stats: On 28 April, a professional string octet (members listed below) recorded 14 takes. On 29 April, as John C. Winn tells us in That Magic Feeling, “Paul added his lead vocal on track 4, and then he, John, and George harmonized for the choruses on track 3.” (p. 24) That evening, the tape recorder was slowed a bit to achieve a higher pitch when played at regular speed. Finally, on 6 June (spilling over into the small hours of 7 June), Paul re-recorded his vocal, employing a unique concept provided by Martin. Martin had suggested Paul “sing the chorus in counterpoint to his final vocal refrain.” (Winn, That Magic Feeling, 24)

Instrumentation and Musicians:

Paul McCartney, the composer, sings lead vocal.

John Lennon sings backing vocals.

George Harrison sings backing vocals.

String Octet including violinists Tony Gilbert (first violin) Sidney Sax, John Sharpe, and Jurgen Hess; violists
Stephen Shingles and John Underwood, and cellists Derek Simpson and Norman Jones. Musical arrangement by George Martin. (Hammack, 136)

Sources: Lewisohn, The Complete Beatles Chronicle, 219, Lewisohn, The Recording Sessions, 77, Martin, All You Need is Ears, 199, Emerick, Here, There, and Everywhere, 127, Rodriguez, Revolver: How The Beatles Reimagined Rock’n’Roll, 167-169, Davies, The Beatles Lyrics, 144-149, Margotin and Guesdon, All the Songs, 326-327, Winn, That Magic Feeling, 7 and 24, Hammack, The Beatles Recording Reference Manual, Vol. 2, 136-137, Turner, A Hard Day’s Write, 104-105, Riley, Tell Me Why, 184-185, Spizer, The Beatles for Sale on Parlophone Records, 213, Spignesi and Lewis, 100 Best Beatles Songs, 93-95, McCartney, Paul McCartney, The Lyrics, 157-163, Sheff, The Playboy Interviews, 118-119 and 151, Shotton, John Lennon: In My Life, 123-124, and MacDonald, Revolution in the Head, 162-163.

What’s Changed:

Absolutely Everything!!! If you knew nothing at all about The Beatles, and heard “Love Me Do” followed by “Eleanor Rigby,” you would vow that those two songs were not composed by the same band! Even if we juxtaposed 1965’s “Help!” against 1966’s “Eleanor Rigby,” the differences would still be myriad and vast. The second track on Revolver truly changed so much that we know about The Beatles. It was a dramatic 180-degree pivot. Here are just a few of the meteoric changes:

Instrumental Personnel – Paul sings the lead vocal while John and George sing back-up, but nary a Beatle plays an instrument on this track. The instruments are manned by a professional string octet, but not by John, Paul, George, and Ringo. That is certainly “something new”!

Instruments – four violins, two violas, two cellos. And that is all. To quote Clang: “Shocking!”

“A Complete Change of Style” – This quote regarding “Eleanor Rigby” (and “Tomorrow Never Knows”) is from Sir George Martin. And of course, he said it perfectly. Both songs propelled us headlong into “the new direction.” Prior to Rubber Soul and Revolver, Beatles music had been upbeat if not always optimistic. Even songs expressing crushing depression (such as “I’ll Cry Instead” and “Help!”) sound hopeful, if not downright joyous.

But “Eleanor Rigby” is unabashedly a song about painful isolation from which there is no glimmer of rescue. In The Beatles’ catalog, this is a revolutionary theme and sound. As Tim Riley observes in Tell My Why: “The ‘ah’s’ aren’t soothing, they’re aching, and the sudden drop in the cellos after the first line sinks the heart along with it.” Yes, “Misery” was a song of heartbreak but left open the possibility that the wayward girl would “come back to me.” And in “Girl,” the bickering couple only suffer through their troubles because they’re still very much in love.

But the world of “Eleanor Rigby” is a place in which “no one was saved.” In Revolver: How The Beatles Reimagined Rock’n’Roll, Robert Rodriguez points out that even “Yesterday” holds more hope than “Eleanor Rigby.” He observes: “’Yesterday’ bore obvious commerciality with its time-honored theme of love gone wrong. But ‘Eleanor Rigby’ was a somewhat unsettling composition devoid of traditional romanticism, calculated to stir rather than to soothe.”

Contested Authorship of Lyrics – The lyrics of only one other Beatles song – “In My Life” – has been claimed by both John and Paul. Through the years, Paul has always claimed full authorship for “Eleanor Rigby.” In Paul McCartney, The Lyrics, he goes into great detail about several “old ladies” he encountered in his youthful Bob-A-Job-Week chores – ladies who inspired the character. And Paul adds that Eleanor Bron might have reinforced the concept of using “Eleanor” as the character’s name. Then he states, “Initially, the priest was ‘Father McCartney’ because it had the right number of syllables. I took the song out to John at that point, and I remember playing it to him, and he said, ‘That’s great, Father McCartney.’ He loved it. But I wasn’t really comfortable with it because it’s my dad – my Father McCartney – so I literally got out the phone book and went on from ‘McCartney’ to ‘McKenzie.’” (pp. 157-163)

However, in the 1980 Playboy Interviews, John Lennon told David Sheff, “Yeah, ‘Rigby.’ The first verse was [Paul’s], and the rest are basically mine…we were sitting around with Mal Evans and Neil Aspinall, and he said to us, ‘Hey, you guys, finish up the lyrics.’…and I was insulted that Paul had just thrown it out of the air. He actually meant he wanted me to do it, and of course, there isn’t a word of theirs in it because I finally went off to a room with Paul and we finished the song.” John then goes into great detail about the writing process of “Rigby,” even stating that “when [he] stepped away to go to the toilet,” George and Paul were working on “Rigby” in his absence, and they came up with the line, “Ah look at all the lonely people.” When he returned, John says, “They were settling on that.” He says that he heard it, loved it, and remarked, “That’s it!” (pp. 118-119)

Later in the same interview, John restated his contribution to “Eleanor Rigby,” calling it “Paul’s baby, but I helped with the education of the child.” (p. 151)

However, in his book, John Lennon In My Life, Pete Shotton revealed a very different account of the song’s creation. Pete says that he and about 8-10 other people (including Ringo) were spending an evening in John’s home Kenwood when Paul arrived. McCartney presented those gathered with a set of lyrics for “Eleanor Rigby,” and said, “I’ve got this little tune here. It keeps popping into me head, but I haven’t got very far with it.”

Pete says, “We all sat around, making suggestions, throwing out the odd line or phrase…[When] Paul got to the verse about the cleric, whose name he had down as ‘Father McCartney,’ Ringo came up with the line about ‘darning his socks in the night,’ which everybody liked.” However, Pete says that he objected to the cleric’s name and pointed out to Paul that fans might think it is Jim McCartney having to darn socks, lonely and all alone. And when Paul agreed, Pete goes on: “…I noticed a telephone directory lying around and said, ‘Give us that phone book, then, and I’ll have a look through the Macs.” And he did. After finding and rejecting the humorous name “McVicar,” Pete says that he asked Paul to “try Father McKenzie out for size, and everyone appeared to like the lilt of it.” (Shotton, 123)

Then, according to Pete, Paul told the gathered group: “The real trouble is I’ve no idea how to finish this song.” Ideas and suggestions were thrown out at random. And Pete claims that he suggested having Eleanor die and having Father McKenzie perform the burial. Pete states that he said, “That way you’ll have the two lonely people coming together in the end – but too late.” (Shotton, 124) It was a concept, Pete tells us, that Paul seemed to endorse, but an ending that John did not care for one bit.

Quite a different tale! So, where does the truth lie? Who wrote what and when and why?

The only thread that is consistent in all accounts is that Paul took the song to John and somehow the two of them – alone or with other people – finished the lyrics as a joint effort. All other details vary, depending upon the teller of the tale. Rarely does this scenario occur with a Beatles song. Credits are shared; nods are given. But the history of “Eleanor Rigby” is much like the record’s namesake, aloof and unknown.

Recording Techniques – When Paul McCartney told new EMI engineer Geoff Emerick that he wanted the strings on “Eleanor Rigby” “to sound really biting,” Emerick was a little intimidated. How could he achieve that? In his book Here, There, and Everywhere, Emerick tells us that he devised an outrageous plan to close-mic the strings. He explains: “String quartets were traditionally recorded with just one or two microphones placed high, several feet up in the air so the sound of bows scraping couldn’t be heard.”

Defying this unwritten rule, Geoff close-miked the instruments. It was a bold act of genius. And the result was precisely what Paul wanted! Not only did the strings supply melody but they also supplied percussion. And their “harsh realism” brought the strident authenticity of a callous world into this lonely and tragic song. (More on this in Simon Weitzman’s “Fresh, New Look” interview below.)

One final note…According to The Beatles, “Eleanor Rigby died in the church and was buried along with her name.” But in 2023, almost 60 years from her appearance in the world of The Beatles, Eleanor lives on. By the mid 2000’s, the song had been covered by over 200 musicians. Ray Charles, for example, hit No. 35 on the Billboard charts with his version of the song. In 1969, Aretha Franklin’s take on the number shot to No. 17 on the Billboard Hot 100. But these two icons are not alone in their respect for the song. Hundreds of other groups recorded their own tributes to Father McKenzie, all the lonely people, and yes, to Eleanor. In 2023, Eleanor is still with us…living on.

A Fresh, New Look:

We’re thrilled to have Simon Weitzman with us this month for a close and personal examination of “Eleanor Rigby.” Apart from his other many credits, listed earlier in the blog, Simon is working on a documentary about Beatles PA and Rolling Stones Tour Manager, Chris O’Dell. He’s also completing his wonderful film, A Love Letter to The Beatles: Here, There, and Everywhere, which you will be able to enjoy at the New York Metro Fest for Beatles Fans. Taking time out of his hectically busy schedule to discuss “Eleanor Rigby” was a real treat for the Fest staff. Thank you, Simon!!!!

Jude Southerland Kessler: Hi Simon, thank you “ooover and oover and oover again” (whoops, wrong band!!) for giving us the gift of your time. We know you’re incredibly busy, so I’ll dive right in. Simon, the 1966 addition of young Geoff Emerick to the production team at EMI certainly made Revolver an edgier, more experimental LP. Please tell us a bit about Emerick’s clever method of making the orchestral segment “hard-biting,” as Paul had requested him to do.

Its production is as exquisite as it is different. Paul was a forward-thinker and was amenable to George Martin’s suggestions that classical music be employed. Despite initial misgivings, Paul wisely followed Martin’s lead and brought classical influences firmly into the 20^th century. It was familiar ground for George Martin; it enabled him to take a leap of faith with Paul and really push the strings in the recordings, whilst taking inspiration from Bernard Herrmann, who himself innovated the modern film compositions that were to shape cinema throughout the century. Indeed, “Eleanor Rigby” has a soundscape that would very comfortably sit in a number of movie soundtracks today.

“I was very much inspired by Bernard Herrmann…[he] really impressed me, especially the strident string writing. When Paul told me he wanted the strings in ‘Eleanor Rigby’ to be doing a rhythm, Herrmann…was a particular influence.”

George Martin as quoted in The Complete Beatles Recording Sessions, Mark Lewisohn, 77

The sound revolution in “Eleanor Rigby” was further extended by the youthful influence of sound engineer Geoff Emerick. Emerick loved classical music but wasn’t bound by the rules and containment of his predecessors. He was more in tune with Paul’s desire to take what was known from the genre and move it into the contemporary music of the time…in effect, making classical acceptable to the pop genre and vice versa. To achieve this – as Jude noted – Emerick brought the microphones closer to the players, managing to isolate each string in a way that hadn’t been done before, This caused some of the more purist musicians some discomfort during the recordings. You just didn’t do that to musicians in session; well, not until now. As Emerick clearly stated in his book Here, There, and Everywhere: “On ‘Eleanor Rigby’ we miked very, very close to the strings, almost touching them. No one had really done that before; the musicians were in horror.”

The combination of Emerick’s soundscape enthusiasm mixed with Martin’s more orthodox approach worked perfectly to create something that sounded filmic, classical, and modern, all at the same time – just as Paul had always seen it in his mind’s eye.

Kessler: Simon, please give us your thoughts on the imagery of the desolate woman and the desperate priest whom no one could hear and whom no one drew near. What do they say to you? Is there hope in this song?

For me, “Eleanor Rigby” is about the mask we put on when we are in social situations and the personas we invent to create our own self-worth. The line: “Wearing the face that she keeps in a jar by the door” is a face we all wear when we leave our homes and try to interact and connect with the world. “Picks up the rice in the church where a wedding has been, lives in a dream” for me, translates as the daydream in which most of us live as we look at what we perceive to be what we should be doing with our lives…and what we perceive everyone else is doing with theirs, as well as being the outsider who is always trying to conform.

“Father McKenzie, writing the words of a sermon that no one will hear, no one comes near. Look at him working, darning his socks in the night when there’s nobody there, what does he care?’” Again, for me the song concentrates on the lifelong search for our self-worth and ultimately, the things we do to satisfy our own perception of achievement. We are conditioned to do things that are recognized. We are educated to believe that the things we do to create our own self-worth don’t count if no one else is watching or listening. Perhaps Paul was also thinking about the apparent futility of everything. Perhaps he, too, was asking, “Does any of it matter?” and “Why are we conditioned to think like this?”

“Eleanor Rigby, died in the church and was buried along with her name, nobody came. Father McKenzie, wiping the dirt from his hands as he walks from the grave, no one was saved.” These final words remind us that we are all ultimately alone. Although in this case, Father McKenzie – whose life is as lonely as Eleanor’s – is at least there to see her over to the afterlife. There is ultimately someone there to see us through, even if it is after we have passed, if only to acknowledge our existence.

Then, there is the final chorus: “All the lonely people, where do they all come from?” This speaks to me and to all of us, I believe, at some stage of our lives, or a lot of stages in our lives. “All the lonely people, where do they all belong?” Where do any of us belong? It’s such a clever observation of the human condition and our need to find our place in the world. It addresses our belief that we only count if we are recognized by others…when the reality is discovering and being at one with our self-worth, however our life turns out. That is ultimately what it’s all about.

Kessler: Finally, Simon, why does this song appeal to you, personally?

This is a song that I very much identify with as an only child and as someone who lives on his own. Ultimately, we are all ‘lonely people,’ but what Paul McCartney (possibly together with John) tapped into is the ultimate loneliness of us all. Even if we are successful, we are unsure. If we are unsuccessful, we feel remote from those who seemingly find success easier. “Eleanor Rigby” is also about the lives we lead, despite the isolation we encounter in life. It is a song that speaks to so many people, even if they aren’t hardcore Beatles fans.

It’s a song that has always made me think. Very few of us get through life without anxiety and self-doubt. I do get very lonely. I suffer from anxiety and issues of self-worth, perhaps like so many of us in this Beatles family. And perhaps that’s why this family exists and why it is so successful…because it is one of the few places in life where we do belong, where we are amongst our own kind and where we can embrace individuality and encourage each other. It feels like this song was designed as a “shout out” to everyone looking for themselves.

We all have to go through life trying to exude a confidence we probably don’t have. Look at musicians like Adele, who suffer from imposter syndrome. I think we all suffer from imposter syndrome, unless we lack the humanity that anchors us to the reality of our short lives in the vastness of eternity. It doesn’t matter how much money you have in the bank, how good looking you are perceived to be, or what circles you move in – isolation is the biggest challenge we encounter in life, and it is easy to get lost. Look at the unfortunate people who are homeless and struggle to be seen at all by so many of us. Everyone deserves to be seen.

I wonder if Paul ever imagined that the fans of The Beatles would still be together after all these years and that the music and the legend of the group would create such a strong family bond? Yet, here we are. We are very lucky to have our Beatles family. It’s what keeps many of us sane and gives us a community to feel comfortable with. I think our Beatles community has a bond stronger than The Beatles ever anticipated. It has been the catalyst that unites us and helps us get through the tough times, and songs like “Eleanor Rigby,” for me, remind us where we all are and how lucky we are to have each other. A place where we can belong, be valued, and not feel so lonely.

Kessler: Simon, truer words were never penned! Thank you for being an integral part of this special look at “Eleanor Rigby”! We can’t wait to see you in just a few days at the New York Metro Fest for Beatles Fans!

For more info on Simon Weitzman, HEAD HERE or follow him on Facebook HERE or on LinkedIn HERE

For more information on Jude Southerland Kessler and The John Lennon Series, HEAD HERE

Revolver Deep Dive Part 1: Taxman

By Jude Southerland Kessler

Side One, Track One

“Taxman”… in Which Everybody Gets a BIT of Money

by Jude Southerland Kessler and Bruce Spizer

Through 2023, the Fest for Beatles Fans blog will explore the complexities of The Beatles’ revolutionary 1966 LP, Revolver. This month, taxman-by-day (a.k.a. corporate tax attorney) and Beatles music authority in all other hours, Bruce Spizer, will provide our “Fresh New Look” at this song, penned over five decades ago.

Bruce is an integral part of our Fest Family and is the author of The Beatles Are Coming!, Beatles for Sales on Parlophone Records, The Beatles Story on Capitol Records (Parts 1 and 2), The Beatles on Apple Records, and The Beatles Swan Song. In recent years, he has created the insightful Beatles Album Series, including The Beatles and Sgt. Pepper: A Fan’s Perspective, The Beatles White Album and the Launch of Apple, and his latest release, The Beatles Rubber Soul to Revolver. For our February blog, Bruce joins Jude Southerland Kessler, author of The John Lennon Series, for exciting, in-depth coverage of the opening track of this important and pivotal LP.

What’s Standard:

Date Recorded: 20-22 April 1966

Time Recorded: Work done on the 20^th followed work on “And Your Bird Can Sing.” That session, in its entirety, was from 2:30 p.m. to 2:30 a.m.

On 21 April, work took place between 2:30 p.m. – 12:50 a.m.

On 22 April, work took place between 2:30 p.m. – 11:30 p.m.

Studio: EMI Studios, Studio 2

Tech Team

Producer: George Martin

Balance Engineer: Geoff Emerick

Second Engineer: Phil McDonald

Stats:

On 20 April, four tracks were recorded. Only two were completed. (Rodriguez, 126)

On 21 April, eleven rhythm tracks (electric guitars, bass, and drums) were recorded. George overdubbed two vocal tracks, with backing vocals from John and Paul. Ringo added a tambourine. Paul recorded the incredible lead solo. John and Paul sang the rapid falsetto “Anybody got a bit of money” lines. Paul’s count-in is present. (Winn, 13)

On 22 April, a reduction mix of Take 11 combines both vocal tracks onto one track of a new tape. That is referred to as Take 12. The newly-available track is then filled with a cowbell. The falsetto line, “Anybody got a bit of money” is erased. The “Mr. Wilson/Mr. Heath” bit is added. Some errant guitar notes are erased. Another “rasping lead guitar solo,” as Beatles guru Mark Lewisohn phrases it, was added by Paul. (The Beatles Recording Sessions, 76) John C. Winn points out that it was, “spliced on to the main body of the song and George’s final ‘me’ at the end of the song.” (14)

Editing was done on 27 April and 16 May.

Instrumentation and Musicians:

George Harrison, the composer (with assistance from John Lennon) sings lead vocals and plays one of three guitars that he had available. These guitars were, according to Hammack’s Recording Reference Manual, Vol. 2, either the 1961 Fender Stratocaster, the 1964 Gibson SG Standard, or the 1965 Epiphone ES-230TD Casino. (129)

John Lennon, lyrical contributor, sings backing vocals, and some sources have John manning the tambourine.

Paul McCartney, plays bass on his 1964 Rickenbacker 4001S bass and provides the lead solo on his Casino electric guitar (Hammack, 130). Paul also provides backing vocals with John.

Ringo Starr plays his 1964 Ludwig Oyster Black Pearl Super Classic drum set; he also mans the cowbell and most sources say the tambourine as well.

Sources: The Beatles, The Anthology, 197, Lewisohn, The Complete Beatles Chronicle, 218-219, Lewisohn, The Beatles Recording Sessions, 76, Spizer, The Beatles Rubber Soul to Revolver, 22-35, Rodriguez, Revolver, How The Beatles Reimagined Rock’n’Roll, 126-129, Hammack, The Beatles Recording Reference Manual, Vol. 2, 129-131, Margotin and Guesdon, All the Songs, 324-325, Winn, That Magic Feeling, 12-13, Emerick, Here, There, and Everywhere, 126, Turner, A Hard Day’s Write, 102-103, Riley, Tell Me Why, 182-183, Spignesi and Lewis, 100 Best Beatles Songs, 147-149, MacDonald, Revolution in the Head, 160, Davies, The Beatles Lyrics, 142-143, and Babiuk, Beatles Gear, 178-185.

What’s Changed:

A Harrison Album Opener – Almost always, John Lennon had been afforded the honor of opening his band’s LPs. He’d done so on With The Beatles, Beatles for Sale, A Hard Day’s Night, and Help! On The Beatles’ first LP Please Please Me, the opening track was a collaborative effort (“I Saw Her Standing There”) that introduced the lads to the listening world. But not until the band released Rubber Soul did Paul McCartney motor into the opening slot with “Drive My Car.” Traditionally, one expected Lennon to kick albums off, but of course, one could readily accept Paul at the helm. George had been accustomed to one-sies (and rarely, two-sies) at the mic on each long-playing record. Now, to be selected to open the record was a rather revolutionary honor for George.

Indeed, in Revolver: How The Beatles Reimagined Rock’n’Roll, Rodriguez points out that “Not only would [Harrison] get an unheard-of three songs on the album, but he had the first cut as well. It was an honor that left him ‘dead chuffed’…” And George handled this nod with aplomb. (128) Note: As Bruce Spizer will point out, Rodriguez is referring to three original songs on an LP and not counting cover songs sung by George.

In his book, Here, There, and Everywhere, new Revolver Engineer Geoff Emerick commented, “I thought George’s strongest song on Revolver was ‘Taxman,’ and George Martin must have agreed, since he decided to put it first of the album – the all-important spot generally reserved for the best song, since the idea was to try to capture the listener immediately.” Emerick and a host of other Beatles music experts cite the extremely clever lyrics as the song’s strongest feature. Part of that charm came from…

A Lennon/Harrison Collaboration – By 1966, Beatles fans were accustomed to John’s collaborations with Paul and to John writing songs such as “Do You Want to Know A Secret” and “I’m Happy Just to Dance with You” for George. But this time, George penned the album’s opening track by himself and then approached John for a bit of assistance.

Years later, John stated, “[George] came to me…I didn’t want to do it. I thought, ‘Oh no, don’t tell me I have to work on George’s stuff. It’s enough doing my own…But because I loved him and didn’t want to hurt him, [I] said okay.” (Margotin and Guesdon, 324) In Beatles Lyrics, Hunter Davies points out that to enhance “Taxman,” John added the lines: “…if you try to sit, I’ll tax your seat. If you get too cold, I’ll tax the heat.” Davies says, “John’s input made [‘Taxman’] wittier and smarter and the finished lyrics were much better.” (142) In his extraordinary work, Revolver: How The Beatles Reimagined Rock’n’Roll, Robert Rodriguez concurs to some degree. He states that Harrison had already crafted strong lyrics, but says, “It was John who gave the already-biting lyrics some extra sting.” (126) Beatles music experts also point out that this section was re-written in a call-and response-pattern, and it certainly revealed a band angst, a general feeling of resentment towards the British income tax system (which was taking over 90 percent of their income), not just from George’s perspective but from all of The Beatles.

A Change in Engineers – Just before the group began to record Revolver, long-time engineer, Norman Smith was replaced by Geoff Emerick. As Andy Babiuk points out in Beatles Gear, Emerick “was a young engineer, eager and willing to experiment. Emerick had worked on Beatles sessions as far back as A Hard Day’s Night in 1964, but now he joined George Martin’s production team as chief engineer to help translate The Beatles’ ever-expanding musical ideas.” (178) And Babiuk states that with Emerick on board, the watchword for Revolver was “experimentation.” (178)

For example, in “Taxman,” there are not one but two count-ins. George clearly voices what is ostensibly “the real thing” as part of the song. Yet in the background, Paul is speaking the actual count-in. Not only does the verbal count-in reflect back to the first song of their first LP, but the dual count-ins (one real and one “for show”) function symbolically, perhaps representing the fans’ fantasy version of The Beatles’ life spread atop the surface of the harsh, underlying real world in which John, Paul, George, and Ringo actually lived and breathed. The juxtaposition of the dual count-ins signals a new level of creativity and a new depth of meaning in each song on Revolver.

Harrison also wryly employs the popular “Batman!” theme shriek for a hero when decrying the band’s actual anti-hero, the “Taxman!” Rodriguez points out that the “Batman!” theme was well-known in England in 1966, having been covered in an instrumental by the Markettes and later by The Who. So, using the comic theme, Rodriguez suggests, is George’s way of “giving his listeners a wink [and]…letting them [know] that, real tax issues aside, his rant shouldn’t be taken at face value.” (Revolver, How The Beatles Reimagined Rock’n’Roll, 127) It’s a tacit joke between the artists and the audience. Thankfully, Martin and Emerick were open to such crafty ideas, and without a blink, they found a way to “make it so.”

Unique Subject Matter – George Martin readily admitted that the songs on Revolver were “far more varied than anything [The Beatles had] ever done before.” (Spizer, The Beatles Rubber Soul to Revolver, 23) And it wasn’t only the boys’ music that was innovative! The song themes themselves were sweepingly different. Instead of the traditional “moon, croon, spoon, June” songs, Revolver frankly discussed death, loneliness and isolation, loss, drug usage, and yes, taxes.

George commented, “’Taxman’ was when I first realized that even though we started earning money, we were actually giving most of it away in taxes. It was and is so typical. Why should this be so? Are we being punished for something we have forgotten to do?” (Davies, The Beatles Lyrics, 142)

By 1966, The Beatles’ eyes were wide open. They were no longer young, green boys, fresh on the scene. The new “studio Beatles” were sophisticated world travelers who had learned how to wrangle with the music industry’s “big cigars,” fans, governments, and press…and to survive. They had faced near-death experiences, complicated personal relationships, and yes, even financial worries. As Hunter Davies points out, “Brian Epstein [had] tried a few tax-saving devices – sheltering one million with a financial wizard in a tax haven in the Bahamas. The money disappeared…” (The Beatles Lyrics, 142) The Beatles of Revolver have learned a thing or two, and on their 7^th LP, they tell us about it.

Paul Takes the Lead – In our next section, Bruce Spizer will discuss Paul’s remarkable lead guitar work, but we must note here that having Paul rather than George play the lead solo in the middle and at the end of “Taxman” was a landmark moment. From Revolver on, the vastly talented McCartney would increasingly begin to assume roles traditionally allotted to the other three.

A Fresh, New Look:

Who better to give us all a unique and insightful look at “Taxman” than our own Fest Beatles music expert, Bruce Spizer?! (And let us not forget that in addition to being a Beatles author/historian, Bruce is Board Certified in Taxation by the Louisiana Bar Association, making him a “Taxman” by trade.) In his latest book The Beatles Rubber Soul to Revolver, Bruce reminds us that when Revolver was released, Melody Maker observed that there are “still more ideas buzzing around in The Beatles’ heads than in most of the pop world put together.” (31) Let’s chat with Bruce about those incredible ideas and innovations in “Taxman.”

Jude Southerland Kessler: Bruce, the fact that a George Harrison composition opens Side One of Revolver is significant in many ways. Tell us about this interesting new development in Beatles music history and why it matters.

Bruce Spizer: George had always been intimidated by John and Paul when it came to songwriting. Who wouldn’t be? He had to wonder at first if his songs were good enough to be on a Beatles album. And it only got worse when The Beatles phased out cover versions of songs from their stage act as album material. Any song George got would eliminate a Lennon-McCartney composition, so it had to be good.

Although George had received co-writer’s credit for coming up with the guitar solo on Paul’s early composition “In Spite Of All The Danger” and wrote the Hamburg days instrumental “Cry For A Shadow” with John, John and Paul decided to exclude George from their songwriting team. Harrison would have to go it alone. He got his first proper song, “Don’t Bother Me,” on the group’s second U.K. album, With The Beatles. After being shut out for the next two albums, he had two songs each on Help! and Rubber Soul. But on Revolver, he not only had three songs, but was given the all-important opening track, a show of confidence from George Martin and his fellow band mates.

This validation of his songwriting ability encouraged George to write more songs and to push for having them included on The Beatles albums. He had four songs included on The White Album and two of the best songs on Abbey Road. George no longer lacked the confidence to write songs and was even beginning to push to have more of his songs being included on the group’s albums. When George realized during the Get Back sessions that he could not get his songs recorded when limited to two or three songs per album, the seed was planted for him to put all of his own songs out on a solo album, leading to his excellent LP All Things Must Pass.

So, the placement of “Taxman” as the lead track of Revolver is significant because it contributed to George’s growing confidence as a songwriter, and it forced John and Paul to recognize that George’s songs were worthy of inclusion on Beatles albums even if it meant fewer songs written by John and/or Paul.

AMERICAN NOTE: While fans only familiar with The Beatles’ core catalog of British releases will tell you that Revolver is the first Beatles album to open with a George song, that is not quite correct if one counts songs in which George is the lead vocalist. Capitol’s April 1964 release, The Beatles’ Second Album, opens with George singing lead on Chuck Berry’s “Roll Over Beethoven.”

BRITISH NOTE: While Revolver is the first British album containing three George compositions, it is not the first to have three George lead vocals. I want to tell you the answer, but I need you to think for yourself. Don’t bother me with asking for clues. The answer is With The Beatles, on which George sings lead on his own “Don’t Bother Me,” Chuck Berry’s “Roll Over Beethoven” and the obscure girl-group song by the Donays, “Devil In His Heart” (gender changed in the lyrics and title to “Devil In Her Heart”).

Kessler: A comparison of the opening of “Taxman” and the opening of “I Saw Her Standing There” on Please Please Me produces some interesting similarities and differences. In Revolution in the Head, for example, Ian MacDonald says that the differences in these two introductions clearly symbolize “a new start in The Beatles career.” How so?

Spizer: In my book The Beatles Rubber Soul to Revolver, I compare the two openings as follows:

“Revolver opens with a slow, lazy “One, two, three, four, one, two” count-in by George augmented by tape sounds and a cough. Paul’s original count-in for the song’s backing track can be heard as well, just as Harrison ends his count. It is a far cry from Paul’s youthful, exuberant “One, two, three, faaa!” count-in that preceded “I Saw Her Standing There,” the opening track on the group’s first Parlophone LP, Please Please Me, and the second song on Capitol’s Meet The Beatles! LP. In comparing those early albums to Revolver, the music and lyrical themes that follow are as different as the count-ins.”

Looking back, Paul’s “One, two, three, faaa!” count-in to the lead track on the Please Please Me LP was a stroke of genius on the part of George Martin. He wanted to get The Beatles’ first album off to a memorable and rousing start with what he described as a “potboiler,” so he chose “I Saw Her Standing There,” a high-energy rocker. He edited Paul’s count-in from Take 9 (with the volume increased) to the opening of the master take of the song. It was the perfect introduction to a great 14-song set of performances taken from The Beatles’ stage show.

In my upcoming book, The Beatles Please Please Me to With The Beatles, I discuss how the Beatles and George Martin selected the songs for the first LP:

“With only a single day available, Martin knew time was an issue. ‘I asked them what they had which we could record quickly, and the answer was their stage act.’ This would consist of a mix of Lennon-McCartney original compositions and cover versions of songs by other artists.”

Although Martin had ruled out recording The Beatles in concert at the Cavern, he wanted to capture that sound in the studio. In my upcoming book I write:

“Engineer Norman Smith placed the microphones further from the amplifiers than what was normally done so that they would pick up not only direct sound from the amplifiers, but also the ambient sound of the room. This gave the songs a more raucous sound, resembling what was heard at the group’s live performances.”

By 1966, the boys had grown up. They and George Martin were no longer looking for that “live-in-concert” sound. As stated on the back cover to The Beatles Rubber Soul to Revolver:

“With Revolver, The Beatles were looking for more color in their recordings, trying new instruments and techniques. But they were not using studio wizardry to cover weaknesses; they were looking for new sounds to enhance their already brilliant songs.”

In effect, the studio became an instrument all its own for The Beatles to experiment with. The whirling tape sounds heard in the introduction to “Taxman” foreshadow the role that recording tape would play on the album – new techniques such as artificial double-tracking, varispeed recordings, backwards tape recordings and tape loops. Although many of these tape tricks are heard throughout the album, it is the album’s final track, “Tomorrow Never Knows,” that takes full advantage of the techniques that the Abbey Road engineers used so effectively on the album.

The Beatles’ next few projects continued to take advantage of the studio, although The Beatles briefly attempted to get back to the sound of their Please Please Me LP during the Get Back project, foregoing overdubs and other tape effects and going for a “live-in-the-studio” sound, culminating with their famous rooftop concert, where their sound bounced around London buildings instead of studio walls.

Paul’s fast and youthful count-in on “I Saw Her Standing There” is appropriate for an album whose ten new songs were quickly recorded in 14 hours on a single day by a group referred to as “the boys.” George’s slow and mature-sounding count-in on “Taxman” is equally appropriate for an album recorded in 300 hours over a two-and-a-half-month span by a group of maturing young men whose musical abilities were evolving at a mind-numbing pace.

AMERICAN NOTE: Americans who bought the Vee-Jay album Introducing The Beatles, which featured 12 of the 14 songs appearing on the Please Please Me LP, were literally short-changed on the opening. Engineer Roger Anfinsen, who worked at Chicago’s Universal Recording Studios, prepared mono and stereo masters of the Vee-Jay album in late June 1963. Either on his own or following instructions from Vee-Jay, Anfinsen edited most of Paul’s count-in at the beginning of the tape, perhaps thinking it did not belong on the album. Thus, both the mono and stereo versions of Introducing The Beatles open with Paul shouting “Faaa!”

Kessler: Although George wrote the lyrics to this song with some assistance from John Lennon, many music experts call “Taxman” a “true group effort.” Do you agree with this observation, and if so, why?

Spizer: I guess people call “Taxman” a “true group effort” because John assisted George with the lyrics, Paul contributed a great lead guitar solo, and all four Beatles play on the song. That was not always the case on Revolver. No Beatle plays on “Eleanor Rigby,” and Paul and Ringo are the only Beatles playing instruments on “Good Day Sunshine” and “For No One.” John also does not play an instrument on “Love You To” or “Here, There And Everywhere.” But over half the songs on the album have all four Beatles fully participating.

Nonetheless, when the album came out in 1966, Melody Maker astutely noted that “The Beatles individual personalities are now showing loud and clear,” with only a few of the LP’s songs really being Beatle tracks. “Most are Paul tracks, John tracks, George tracks, or in the case of ‘Yellow Submarine,’ Ringo’s track.” George’s fascination for Indian music and Paul’s liking of classical music effects clearly come through. Out of George’s three songs on the album, “Love You To” and “I Want To Tell You” are clearly “George tracks,” while “Taxman” is more of a group effort.

As for Paul playing the guitar solo, that had to have been an awkward moment for George. After all, he was the group’s lead guitarist, and it was his song. But the final result was well worth it. According to Paul: “George let me have a go for that solo because I had an idea. I was trying to persuade George to do something…feedback-y and crazy. And I was showing him what I wanted, and he said, ‘Well, you do it.’” Although George may have capitulated with a taste of resentment and sarcasm, he was later appreciative, saying: “I was pleased to have Paul play that bit on ‘Taxman.’ If you notice, he did like a little Indian bit on it for me.”

George allowing the band’s bass player to usurp his guitar solo on his own composition shows that George put the group and the quality of the song ahead of his ego. Now that’s a group effort!

AMERICAN NOTE: While the British version of Revolver has 14 tracks, the Capitol version only has 11 songs. This is because Capitol placed three of the British album’s songs on an earlier release, Yesterday And Today. Unfortunately, all three of these songs, “I’m Only Sleeping” “And Your Bird Can Sing” and “Doctor Robert,” were songs with John on lead vocal. This gave Americans the impression that John had contributed very little to the album.

Kessler: Revolver firmly established The Beatles as recording artists rather than a stage band or a touring band. Tell us about some of the techniques used on “Taxman” that would have been difficult to duplicate on stage.

Spizer: Before Revolver was released, Paul was quoted as saying about the album: “They’ll never be able to copy this one!” He was most likely thinking of songs like “Eleanor Rigby,” “Love You To,” “Yellow Submarine,” and “Tomorrow Never Knows,” and to a lesser extent, “For No One” and “Got To Get You Into My Life.” “Taxman” is actually one of the album’s songs that could have been played live; however, it would not have sounded like the album track unless you had an extra guitar player for the song’s solo and people adding tambourine and cowbell. And, of course, you’d need great musicians to handle Paul’s stop-and-start bass guitar riff working in tandem with Ringo’s energetic drumming, not to mention George’s distorted rhythm guitar and Paul’s aggressive guitar solo.

The Fest loves Bruce…and we sincerely appreciate his sharing insights on “Taxman” with us. You can meet Bruce in person, get a copy of his book, and hear him speak throughout the weekend at the

New York Metro Fest for Beatles Fans, 31 March – 2 April at the Hyatt Regency, Jersey City

For more information about Bruce and his books HEAD HERE

Follow Bruce on Facebook HERE

Join Bruce Spizer on “She Said She Said” as he talks about The Beatles Rubber Soul to Revolver

For more information about Jude Kessler and The John Lennon Series, HEAD HERE

Revolver Deep Dive: Talent is the best weapon

By Jude Southerland Kessler

If Frank Sinatra is correct and “success is the best revenge,” then surely “talent is the best weapon.” And for The Beatles, their ever-emerging and morphing talent was exhibited most effectively in their 1966 album, Revolver. Revolver shattered almost everything that fans and critics had come to think of as “classic Beatles.” It launched us all into an era of new sounds, new techniques, new topics and ideas. Even the LP’s clever title conjured up myriad novel images:

images of rotating turntables,

circular doors opening to new avenues,

opinions pivoting as the world revolved from comfortable “she loves you” yesterdays to thought-provoking “tomorrow never knows” futures.

Opening up and provoking thought: That is exactly what The Fest for Beatles Fans blog will be doing over the next 16 months as we begin to explore the genius and artistry of Revolver, track-by-track. We will study each song in depth and ask our own Fest authors and experts to share their insights into the 14 songs of 1966 that introduced us all to “the studio Beatles.” We will examine these innovative tunes and lyrics with the help of Bruce Spizer, Jay Bergen, Christine Feldman-Barrett, Dr. Kit O’Toole, Laura Cortner and Dr. Bob Hieronimus, Erin Torkelson Weber, Bob Wilson and Don Jeffries, Debbie Greenberg, Susan Shumsky, Ivor Davis, Melissa Davis, Bill King, and me, Jude Southerland Kessler.

Each month, I will research and present what the Beatles music experts have to say about “who played what and how and when and where” on that month’s selected track – presenting that information in our “What’s Standard” section of the Fest Blog. Then, the innovations of each song will be covered in the “What’s Changed” section. Finally, I’ll interview a guest Beatles author/expert, asking that individual to answer 4 in-depth questions about “the song of the month.”

We’ll begin this study in February with a look at “Taxman.” Guest Expert Bruce Spizer, who recently released the already best-selling book The Beatles Rubber Soul to Revolver, will kick things off. Already, Bruce and I are both hard at work, preparing the blog for you. We’re hoping that the information we uncover will provide a “Fresh New Look” at a song that may have been penned by George Harrison (with some help from John Lennon) but took all four Beatles to perfect. We hope we can serve up some food for thought about the exciting opening track on this great LP.

Because that, after all, is the theme of Revolver. It was, in essence, the modern “shot heard round the world,” signaling freedom from past convention in favor of a “band-new,” independent beginning. It was the decisive break between the stage band we had come to love so dearly and the studio band that would amaze us (no maybe) over and over again – with songs that would be almost impossible to be performed on a stage. Revolver encouraged us to stop, pay attention, and listen…very carefully. And over the next 16 months, that is what we will do.

The Fest for Beatles Fans cordially invites you to join us in this trek through the best music of 1966, brought to you via the genius of John Lennon, Paul McCartney, George Harrison, Ringo Starr, and the magnificent sound artists led by Sir George Martin at EMI studios.

Soon, we shall begin. Stay tuned.

Jay Bergen represented John Lennon the man, not John the Beatle

By Jude Southerland Kessler

If you’re a Beatles fan hungry for new material about one or all of the Fab Four…or if you’re a researcher seeking authentic, primary source material about John’s solo years, look no further than Jay Bergen’s book, Lennon, the Mobster, & the Lawyer, The Untold Story. This 2022 publication is a gold mine! Bergen was John’s attorney in the case against mobster Morris Levy, who tried to market a bootleg of John’s Rock ‘n’ Roll LP that Levy called Roots. And Jay has his own personal story of his days preparing for the trial as well as John’s lengthy and insightful court testimony to share with you. This is factual, documented material you’ve never read before. And it is fascinating!

Meet Jay Bergen in person at the New York Metro Fest for Beatles Fans from March 31 to April 2, 2023!

Jay himself is fascinating. An esteemed New York litigator, Bergen represented the New York Yankees, then-Cleveland Indians, Cincinnati Reds and San Francisco Giants in the 80s/90s Major League Baseball salary arbitration with their players. He also represented Albert Grossman, Bob Dylan’s first manager, in litigation with the star.

But, as you will see in the interview below, Jay is also down-to-earth, gregarious, and extremely kind. Over the course of the Roots trial, John and Jay became friends, sharing many conversations, lunches, and walks together. This is a story that will not only inform you about John’s creative process, his love of 1950s music, and his passion for his work, but will also give you a new glimpse at John, the man.

After 36 years of research on John Lennon, I found this one of the best books ever written about his life in the 1970s. Let’s meet Jay and hear more about this riveting story…

Jude Southerland Kessler: Jay, for those in our Fest for Beatles Fans family who don’t know the stories of John’s legal troubles in the mid-1970s, please give us a synopsis of what happened to precipitate the Roots trial against Morris Levy.

Jay Bergen: In 1970, Morris Levy filed a lawsuit claiming that “Come Together,” written by John Lennon, infringed the copyright to “You Can’t Catch Me.” It was one of Levy’s bogus infringement claims for which he was notorious. The case was coming to trial in NYC in October 1973, but during that time frame, John was in LA recording an album of oldies rock ’n’ roll with Phil Spector producing. John did not want to leave LA, so he settled the case by agreeing to record three Levy-owned songs, including “You Can’t Catch Me,” on his “next album,” which was supposed to be John’s oldies album.

Spector disappeared with the LA master tapes. It took Capitol Records six months to get the tapes from Spector and send them to John in NYC. They arrived when he was ready to record new songs he had written at the Record Plant. John knew the Spector masters required a lot of work so he put them aside and recorded the new songs. That was Walls and Bridges released in September 1974. Levy knew that rock ’n’ roll oldies could not be on an album of John’s songs but still claimed that this was John’s “next” album and John had not complied with the settlement.

Levy then demanded a meeting with John on October 8, 1974. Levy, John, May Pang, and Harold Seider, John’s business advisor, met, and Levy claimed in January 1975 that John made an agreement that night allowing him to release the oldies album on TV on a worldwide basis.

In February 1975, Capitol learned that Levy was buying TV ad time to advertise a bootleg unfinished version of John’s oldies LP that he was calling Roots. John finished his album and Capitol rush released John Lennon Rock ’n’ Roll on February 13th. Levy then stopped his TV ads – after selling 1,270 albums. He then filed a lawsuit against John, Capitol Records, EMI Records, Harold Seider, and Apple Records alleging breach of contract, fraud, and other false claims. Two weeks later his lawyers filed a federal antitrust case against the same defendants alleging $14 million in damages.

Kessler: How did you become John’s attorney and how long did you work to gather data for the case? How involved was it?

Bergen: On February 3, 1975 my partner David Dolgenos – John’s lawyer in connection with the dissolution of The Beatles partnership – asked me to attend a meeting at Capitol’s offices about a rumor that Morris Levy was going to release a bootleg John Lennon album. While I was meeting with three Capitol lawyers, John Lennon suddenly entered the room. I was stunned since I didn’t know he was going to be at the meeting. John filled us in on his contact with Levy and this possible bootleg album.

During the meeting, I asked John how long it would take to finish the oldies album. He said it would take two days, and he wanted to finish it now. Once John delivered the finished album, Capitol could release it in a week to ten days. So that’s what happened.

Even before the first lawsuit was filed, I began interviewing John, May Pang, and Harold Seider in more detail because I wanted to get the facts about all of the dealings with Morris Levy down pat. In the course of doing so, I also learned that Levy was connected to the Genovese crime family in NYC, that he was really a bad guy, and that he had been in “business” with the Mafia for many years.

Pulling together all of the facts was involved because I learned that John had spent time with Levy at a club/restaurant where Levy was a member. I also discovered that in October 1974, John had taken the band with whom he was going to record some new tracks for the oldies album to Levy’s farm for a weekend of rehearsals. More disturbing was that John had accepted Levy’s invitation to spend part of the Christmas holidays with May Pang and his son Julian, who arrived from England at Disney World in Florida. This series of events could be interpreted as evidence that John and Levy were close friends and that perhaps they had made a deal!

Kessler: So, John agreed to be very active in the case against Levy… to be present in court, to give testimony, and to assist in any way possible. Do you feel that John contributed to the case against Levy and to the success of your litigation? If so, how?

Bergen: Yes, John was in court every day, even when he did not have to testify. I think that impressed Judge Griesa because it showed how important the case was to John. Yoko Ono was there also when the trial was spread over January, March, and April 1976, twenty days. Levy was not present very often. Since John was there every day, he was able to watch each witness and see how the judge ran the trial. John knew what to expect when he testified.

John was the best witness I ever had. He was willing to review all the facts and prepare for his deposition and trial testimony. While the judge was a trained musician, he knew nothing about The Beatles or John Lennon or rock ’n’ roll music. John explained his entire process of producing records, the amount of space needed between each track, how long each side of an LP should be, etc. The judge was really into it, so he and John would have these long question/answer periods which drove Levy’s lawyer crazy. He’d try to object, but the judge ignored him.

Kessler: Before you really began work on the case full-scale, you were asked to the Dakota to meet Yoko and chat with her. Please tell us about the meeting…a meeting that you categorize as “an audition.”

Bergen: Sometime in late March, John called me and asked me if I could come up to the Dakota the next morning at 11 AM to meet Yoko. He said, “She just would like to meet you.” When I arrived, we sat in their big living room overlooking Central Park. John was not there.

Yoko had read the two complaints and asked me a series of questions about them. She also wanted to know about my background and experience as a trial lawyer. She was very interested and asked very good questions. She was extremely smart. She politely grilled me. After about an hour or so, she told me that John and she were very worried about Levy’s cases; she emphasized that all John and she wanted to do was hold down the amount of money that John would owe Levy. I told her that if I had anything to say about it, John would not owe Levy anything! That was my goal.

She finally stood up, said she was glad to have met me and thanked me for coming.

You might say I was naïve, but it wasn’t until many years later that I fully realized that our meeting was an “audition” so to speak…and that if Yoko had not liked me and thought that I was not the right lawyer to represent John, I would have been replaced.

Kessler: Jay, one of the most interesting parts of your book was John’s court testimony about how involved he was in the creative process for each of his solo LPs (just as The Beatles were actively involved in the making of their LPs.) Tell us about John’s involvement in insuring that each LP was special…and if you would, please share some passages with us that John actually said about that process.

Bergen: It’s really hard to describe John’s “involvement” as you say, without reading the entire two chapters — “How We Learned The Trade” and “John’s Creative Process” — in which some of his testimony is set forth. Let me insert the portions of that testimony:

Bergen: Now, would you generally describe the recording processes for the Court from the moment you got into the studio?

Lennon: Well, it varied from artist to artist.

Bergen: In [your] experience tell us what procedures you followed?

Lennon: In general, I take the group into the studio, and in general, I record my own songs, so I have to teach them the songs, either in the studio or outside of the studio. Generally, I teach them inside the studio, like a rehearsal or run-through.

And for that we would put it on just a one track or a two track. We would not waste time setting a 16-track machine, which costs money for the tape, and it is not worth it. So, we just run rehearsal on a smaller tape. And then we will try after we run through all the songs, and I have decided which ones they seem to be getting the best, after two days of that, say, I will start laying down the basic tracks for the first song. It usually take[s] the engineers an evening or half an evening to get the sound of the drums, then the sound of the bas[s], then the sound of the guitar, then the sound of the piano, and then a combination of all those people playing at once.

Bergen: You mean, to get it at the right level?

Lennon: The engineer has to know virtually what the drum is going to do, what it is going to sound like when it is hit, whether it is going to distort, so that there has to be an interruption and a sound check without having anything to do with the song, then rehearse the sound without me. The engineer will say drummer, drum, play your tom-tom, and he will play the tom-tom and adjust the mikes and move them around and play the tambourine or cymbals. They have to go through the whole thing before they even start the session.

Usually, I hire the studio, so I know I am going to be there for a month; I am usually there for ten days with the musicians, and so all the instruments are set up already, but even with that, after the run-through and the sound check still each night they will run through the sound of the instruments again, because people come in and move microphones, or the musicians forget and they kick the amplifiers or they change the volume.

Bergen: You mean then before you start the sessions?

Lennon: Yes, every night. That is why we get there early and I generally like to sing with the musicians. I may be in a booth that is supposed to be soundproof.

But I like to sing with the musicians, because then I get the rhythm; I like to do it by feel. Quite often I can’t use my vocal, but at least I know how it was.

Bergen: When you say you can’t use the vocal?

Lennon: I can’t use [it], sometimes it is no good, and I like to play an instrument myself. So, if I am lucky, I get a vocal. But even though I am singing, I have to be listening to the drummer and the bass player and all. I go around and say, “Has anybody got any secrets I didn’t hear?” Sometimes they [tell] you when it is too late, “Oh, yes, I played a wrong note here.” “Why didn’t you tell me? I didn’t hear it.” So, it is a matter, I have to produce it listening hard and do this for ten days usually. I usually put ten tracks on an album. I will tell you the reason if you want to know.

Bergen: Yes.

Lennon: In general, I put ten tracks because I have learned over the years — well, everybody knows this — after you get past 20 minutes the volume of a record has to go down, and it has something to do with the grooves getting thinner. I have had records over 20 minutes, but when it gets over 20 minutes, the volume goes down, and if you average out ten songs it works out to about 20 minutes a side. So it usually takes about ten days to [p]lay the basic tracks down with the musicians, and then usually I send them home, and if I am going to overdub, like a saxophone or xylophone or flute or whatever, I want to put it on, then I will hire a new lot of people with those instruments.

Bergen: Talking about how long a record should be, what you mean is that there is just so much space on each [side] of a record for the sound that is going to be of a proper quality?

Lennon: Well, it is a matter of taste. I am not saying you [cannot] have more.

Bergen: I am talking about what you do.

Lennon: [It can] be done to 28 minutes, but I don’t like to do that, because I want the record loud, and if the groove is deeper you can get more bass drum, and it even goes to the selection of what to put nearest to the center of the record, because the nearer to the center of the record you get the quieter it has to be. The grooves change when you get to the middle. That is what I have learned from the engineers.

Bergen: You say you like the records loud?

Lennon: Yes, I like them to have depth.

Bergen: If you put your record on at a certain sound, say my stereo at home, it will play [at] a certain level, if you put on another record without adjusting the volume it may not be as loud?

Lennon: That is quite possible, yes.

Bergen: Now, you started talking about the next step after you finish the first basic tracks with the musicians. What is next?

Lennon: Every time I go in, I relearn the whole business. So, sitting here cold it is hard to remember what I do next. Probably I take those things home, play them on a cassette, listen to them, and decide what kind of instrumentation I want to put over the top of it.

Bergen: You mean what instruments in addition to the basic instruments that have been put on by you during these ten days?

Lennon: There is a chance that I have a few things I want to do with the tracks. In the meantime, I take them home and listen, or go to the studio and listen, and then decide the next phase, whether I am going to put in a rhythm section or something else.

This concludes the court testimony in Lennon, the Mobster, & the Lawyer, The Untold Story found on pp. 131-137.

Kessler: Jay, why was John’s testimony on this matter so crucial?

Bergen: Because John had to explain to the judge how careful he was in producing his albums – which was the exact opposite of what Levy did with the 7 1/2 inches per second unmixed and unfinished two-reel tape of the album John gave him just to listen to! Levy kept hounding John for a tape so he could hear the three songs owned by his publishing company that John had to have on his next album. Through John’s testimony, we had to make the judge understand that John had not given Levy the two tapes so that Levy could begin marketing them as the finished album.

Kessler: Jay, another section of the book that I, as a Lennon biographer, especially enjoyed was his testimony about what each song on the Rock ’n’ Roll LP meant to him. Can you tell what he said about “Bring It On Home To Me” “Bony Moronie,” and “Slippin’ and Slidin’.”

Bergen: John had reasons for each of the songs on the album and he testified that he was the only one who knew those reasons. For example:

“Bring It On Home To Me” is one of my [all-time] favorite songs, and, in fact, I have been quoted as saying I wish I had written it, I love it that much, and I was glad to be able to do it.

“Bonie [sic] Maronie [sic]” was one of the very earliest songs, along with “Be-Bop-A-Lula,” and I remember [sing]ing it the only time my mother saw me perform before she died. So I was hot on “Bonie [sic] Maronie [sic].” That is one of the reasons. Also, I liked Larry Williams, who recorded it.

“S[l]ippin’ & Slidin’,” the B side of Long Tall Sally, which is the first Little Richard song I ever heard and was also recorded by Buddy Holly, so that covers a little of both. It was a song I knew. It was easier to do songs that I knew than trying to learn something from scratch, even if I was interested in the songs.

Kessler: Since the book came out, you’ve been on countless radio shows and podcasts, and you’ve been a sought-after speaker at numerous conventions and special events. You’ve been asked so many questions. If you don’t mind, please ask yourself a question that you haven’t been asked yet and that you want to answer. We’re all ears!

Bergen: I’ve told the story in the book about what happened when I stopped by the Record Plant Studios on my way home the evening of December 3, 1980, to say hello to a client, singer/songwriter Eve Moon, who was recording an album for Capitol Records there.

As I walked into the first-floor reception area on 44th Street just off Eighth Avenue, I was very surprised to see Yoko Ono sitting on a couch at the far end of the room. She immediately said to me: “What are you doing here?” I said “Hello Yoko” as I walked toward her.

I asked how John was since I assumed he was in one of the two studios on the first floor (Eve Moon was in a studio on the 10th floor). I knew that since Yoko was there, John had to be in one of those two studios right in back of me.

Later, on my way out I asked Yoko to give my best to John.

No one has ever asked me why didn’t I check each of those two studios and go in and say hello to John?

I could have easily done that. John would have been happy to see me, I know he would have been. Even though we hadn’t seen each other in four years that wouldn’t have made a difference to him or me. We had defeated Morris Levy together.

For a variety of reasons, I did not have a “voice” in my personal life. I was not like that in my professional life. I developed an aggressive style as a trial lawyer, not to the point that I was obnoxious. But I did not hesitate to speak up in situations where I had to.

That was not true many times in my personal life.

Five nights later, John Lennon was gunned down in front of the Dakota! And I had missed the opportunity to see him one last time.

I’ve replayed that night in my mind more than once over the decades since.

*****

As you can see, Lennon, the Mobster, & the Lawyer, The Untold Story is a remarkable book with facts and stories about John Lennon and his creative work that is extremely important and new! You can purchase the book at the Fest bookstore, on Amazon, or here.

And you can see him in action in this video episode of the “She Said She Said” podcast with Lanea Stagg of the Recipe Records Series and me:

Follow Jay on Instagram, Twitter, and Facebook

I also highly recommend the superb audiobook of Lennon, the Mobster, & the Lawyer, The Untold Story which is available on Audible. Scott McKinley, who does the professional voice work for this book, is amazing! His John Lennon is spot-on! McKinley keeps you so engaged that you can’t tear yourself away! I carried my phone around for days, listening to the audiobook. You will really enjoy it, trust me. Find it here.

Thoughts on Rubber Soul as we wrap our track-by-track deep dive

By Jude Southerland Kessler

For the last year and a half, our Beatles family of experts/authors have worked in concert to explore (track-by-track!) the phenomenal, pivotal LP that was Rubber Soul. To discuss which instruments were used on which songs, who played what, and how each song was created in studio, I spent hours poring over Beatles music studies (listed at the end of this blog). During that process, I found that (on several occasions) music experts were 180-out from one another; rarely did all of the authorities agree on the guitar used or who performed each part of the song. Working diligently to suss out the “facts and stats” for each song track discussion, I think we all discovered new schools of thought and began to look at Rubber Soul with a revitalized vision

A plethora of our Fest For Beatles Fans experts donated their time to answer interview questions that provided “A Fresh, New Perspective” on each track, and I hope you agree with me that their insights permitted us all to see these great 1965 songs in a better light. We heard from Kenneth Womack, Bruce Spizer, Al Sussman, Susan Ryan, Robert Rodriguez, Janet Davis, Jim Berkenstadt, Lanea Stagg, Jerry Hammack, Piers Hemmingsen, Sara Schmidt, Tom Frangione, David Bedford, and Scott Freiman. Then, professional artist Rande Kessler re-examined the creative cover of the LP while Terri Whitney created a poem to Rubber Soul that touched our hearts.

It was a wonderful series of thought-provoking Fest Blogs, and we thank each person who contributed to this study.

But…there is still so much to discover about Rubber Soul, as we approach its 60^th Anniversary in 2025. For decades Revolver was regularly touted as “the transitional LP” that signaled the end of the touring years and ushered in the “studio years.” But progressively, music experts pointing to Rubber Soul’s transition toward world music influences, its radical change in attitudes toward women, its shift from simple “moon-June-croon” love songs to intricate songs about complicated relationships, and its move toward intricate instrumentation as the transition point in The Beatles’ careers. Recently, Milwaukee journalist Bobby Tanzilo stated, “While the world glorifies Sgt. Pepper, many die-hard fans credit 1965’s Rubber Soul for kicking off The Beatles’ experimental phase.” The LP is gaining greater prominence and stepping into its own.

If you somehow missed the Fest Blogs on this unique album, I invite you to go back and enjoy them right here on the Fest For Beatles Fans website. They began in January 2021 and ended in August 2022. If you’ve digested all of the blogs as we went along, here is a bit of additional reading to enjoy:

The Beatles: Rubber Soul to Revolver, Bruce Spizer, 2022. The latest release in Spizer’s Beatles Album Series is thorough, interesting, and perceptive. Spizer not only traces the genesis and development of these two records with his signature accuracy, but he also calls upon respected Beatles authors to cover their fields of expertise. Piers Hemmingsen writes about the Canadian reception for these two remarkable LPs. Al Sussman provides the historical backdrop for their creation. Frank Daniels tells us about 1966 in film and comics. And Bill King, the creator of Beatlefan magazine gives us a chapter on “Summer of ’66: A Quiet Revolution.” As always, Bruce Spizer also provides priceless fan remembrances about the impact of Rubber Soul and Revolver upon the lives of ordinary people. With superb photos that you’ll find nowhere else, Spizer’s examination of The Beatles’ 1965 and 1966 LPs is extraordinary.

This Bird Has Flown, The Enduring Beauty of Rubber Soul, Fifty Years On, John Kruth, 2015. Kruth’s book is a thorough study of Rubber Soul, artfully highlighting the many aspects of the record that are propelling it into the limelight again in recent years. In an interview with OnMilwaukee.com, Kruth stated, “Rubber Soul is so rich – the first time George uses the sitar – on “Norwegian Wood,” Paul employs jazz chords on “Michelle,” John evokes Weill and Brecht on “Girl,” Ringo sings country on “What Goes On” on the Brit pressing. {And] Paul’s “I’ve Just Seen a Face” seemed to spell out everything I was searching for in a love relationship, overtly as romantic as it was.” In meticulous but very interesting detail, Kruth guides Beatles fans through each Rubber Soul track with care and attention to detail. You will enjoy this book and learn so much from it!

The Beatles as Musicians, The Quarry Men Through Rubber Soul, Walter Everett, 2001. If you are a serious music student or aficionado, this book is for you. Everett breaks down each track into its component parts. A respected Beatles scholar and lecturer, Everett delves into music theory, instrumentation, lyrics, and recoding techniques. A classic work, this book will never go out of style.

Finally, I could not have approached this “long and winding” blog series of blogs without the scholarly work of authors who for five decades have poured over Rubber Soul and lauded it for its creativity, style, and content. So, sincere “thank you’s” are definitely in order to these distinguished historians, Beatles music experts, and biographers for their exemplary work:

The Beatles, The Anthology

Paul McCartney, The Lyrics

Mark Lewisohn, The Beatles Recording Sessions

Mark Lewisohn, The Complete Beatles Chronicle

Bill Harry, The Ultimate Beatles Encyclopedia

Bill Harry, The John Lennon Encyclopedia

Kenneth Womack, Long and Winding Roads: The Evolving Artistry of The Beatles

Kenneth Womack, Maximum Volume, The Life of Beatles Producer George Martin

Kenneth Womack, The Beatles Encyclopedia

Bruce Spizer, Beatles for Sale on Parlophone Records

Bruce Spizer, The Beatles Rubber Soul to Revolver

John C. Winn, Way Beyond Compare: The Beatles Recorded Legacy, Vol. 1

Phillipe Margotin and Jean-Michel Guesdon, The Beatles, All the Songs

Jerry Hammack, The Beatles Recording Reference Manual

Steve Turner, A Hard Day’s Write

Stephan J. Spignesi and Michael Lewis, 100 Greatest Beatles Songs

Andy Babiuk, Beatles Gear

Ray Coleman, Lennon

Tim Riley, Tell Me Why

Tim Riley, Lennon

Barry Miles, The Beatles Diary, Vol. 1

Barry Miles, Paul McCartney, Many Years from Now

Keith Badman, The Beatles: Off the Record

Philip Norman, Shout!

Philip Norman, John Lennon: the Life

Ian MacDonald, Revolution in the Head, The Beatles Records and The Sixties

Chuck Gunderson, Some Fun Tonight: The Backstage Story of How The Beatles Rocked America: The Historic Tours of 1964-1966

David Sheff, The Playboy Interviews with John Lennon and Yoko Ono

Walter Everett, The Beatles as Musicians, The Quarry Men Through Rubber Soul

Wilfrid Mellers, Twilight of the Gods: The Music of The Beatles

Thank you, as well, to Nicole Michael of 910 Public Relations and Rande Kessler for carefully editing each blog before it went to press. And huge thanks to Danny Abriano of The Fest For Beatles Fans for posting each blog with rare and interesting photos that brought the subject to life!

Most of all, my deepest thanks to Mark, Carol, Michelle Joni, and Tilly Lapidos for permitting us to study this ever-evolving record with such intensity for so many months. It was a joy to bring our Fest Family of noted authors together for a project of this magnitude. You believed in us and gave us a great forum. We so appreciate it!

I hope you all have enjoyed reading this as much as we, the authors, have enjoyed compiling it. Stay tuned to our Fest For Beatles Fans website, Facebook page, and Instagram page as we will continue to keep you on the cusp of Beatles scholarship.

Shine On!

Jude Southerland Kessler

Author, The John Lennon Series

An ode to remarkable Beatles manager Brian Epstein

By Jude Southerland Kessler

“It’s Not Personal, It’s Strictly Business”

by Jude Southerland Kessler,

author of The John Lennon Series

With the unveiling of the beautiful tribute statue to Brian Epstein in Liverpool just a few days ago, The Fest for Beatles Fans pauses to commemorate the remarkable man who brought our lads into the bright lights. We love you, Brian. You were “a class act” in every way.

Frequently these days, I hear people espousing the maxim, “It’s not personal, it’s strictly business” as if it were a yardstick of excellent business practice…the benchmark of what is equitable in one’s professional relationships. And I wince, knowing that this quote originated not in Shakespeare or Ben Franklin or The Bible, but came straight from the lips of Michael Corleone in The Godfather. Here’s the movie clip.

If one examines outstanding leaders throughout history, one will rarely find this “It’s just business” rule-of-thumb to be his/her guideline. Brian Epstein, The Beatles legendary manager, is one of those who prized his personal reputation more than money. He sincerely believed that honesty and a bargain well-kept championed all else in the “dog-eat-dog” world of entertainment. In fact, promoter Sid Bernstein (who booked The Beatles at Carnegie Hall in 1964 and Shea Stadium in 1965) said, “Once [Epstein] gave his word, he never changed terms or renegotiated. He had that kind of quality; you believed him; you trusted him. That isn’t true of very many people.”

Let me give you a just few examples of Epstein’s policy of personal integrity over profit:

Epstein honored his agreements

Epstein became The Beatles’ manager in December of 1961, and at that time they were quite popular around Merseyside and in Hamburg. However, they weren’t well-known outside those realms. In London, The Beatles were virtual unknowns. So, as we all know, Brian set about getting the boys gigs anywhere that he could, often at unflattering rates. Exposure and publicity were Epstein’s primary goals.

You know the rest of the story. Quite rapidly, The Beatles began to capture the attention of the masses and press. Everywhere they traveled they were an astounding hit, and people started flocking to their performances – filling town halls, theaters, dance clubs and cellars. So, not surprisingly, the asking price for upcoming Beatles gigs quickly flew up, up, up. In fact, in Craig Brown’s book 100 Glimpses of The Beatles, one Merseyside promoter, Peter Stringfellow, tells the story of how he delayed booking the four boys for several days. And while he hemmed and hawed over the decision, the asking price soared from £50 to £65 to £100. He who hesitated was lost.

However, Epstein firmly believed that a promise made was a promise kept. And he refused to renegotiate contracts signed months earlier. He refused to charge club owners more than he had initially agreed upon. And many of those bargains were word-of-mouth only! You see, Epstein didn’t require a written contract to do what was right. Integrity was ingrained in him.

Epstein kept ticket prices affordable

In June of 1965, when the highly successful Beatles toured France, Italy, and Spain, Brian noticed that the crowds weren’t as large as they’d been on the 1964 tours; so, he asked Neil Aspinall to explain the drop in numbers. At first Barrow pointed out that the unusually high temperatures that summer had somewhat diminished the crowds for afternoon shows. But Epstein instinctively knew that heat alone couldn’t be the sole reason that the fans had decided to stay home. So, he pressed Barrow for the bottom line. Finally, Barrow muttered, “It’s the ticket prices, Brian. They’re more than the average fan can afford.” Epstein was heartbroken. The young manager cared about the fans. And he had always striven to keep ticket prices at fair rates – to make it possible for anyone who loved The Beatles to be able to see them in person. He had no idea that tickets had climbed out of reach, and the moment Epstein heard this frank explanation, he made adjustments. (For the full story, see Shades of Life, Part 1, p. 638-640)

A month and a half later, when The Beatles played the mega-concert in Shea Stadium, the best ticket available – for a field-level box seat – was rigidly set at $5.65. And, of course, for that price, fans got to see the King Curtis All-Stars, the Discotheque Dancers, Cannibal and the Headhunters (“Land of 1000 Dances”), Brenda Holloway (“Every Little Bit Hurts”), the vivacious Sounds Incorporated, and yeah, yeah, yeah, The Beatles. It wasn’t just a “fair price.” It was a bargain!! Throughout the summer of 1965, The Beatles (and their opening bands) filled one stadium after another with fans, fans, and more fans! Lest we forget, in Chicago, the boys gave two performances in front of 50,000 fans total. They played the Hollywood Bowl in front of a sold-out audience. And in Shea Stadium, The Beatles gave the performance of a lifetime to 55,600 awed Beatlemaniacs.

Brian could have charged a great deal more for those tickets and made more profit. In fact, you’ll recall that promoter Sid Bernstein was willing to pay $10 a seat for any unsold Shea Stadium tickets. (However, there were none.) Bernstein thought the ticket to see The Beatles worth at least that price! But Brian Epstein valued what was right, what was just, and what was fair. He wanted everything associated with The Beatles to be completely above-board.

3) Epstein never dealt underhandedly with business associates

In The Man Who Made The Beatles, famous journalist and Beatles friend Ray Coleman stated, “Brian’s name was a byword for class and integrity – and he cherished his reputation.” (p. 218) Coleman goes on to say that Epstein had “a central core of integrity.” And when asked to give “a certain person [in the United States] a thousand dollars to oil the wheels” so that Epstein’s rising folk group, Silkie, could obtain a work permit for nine television shows in America, “Brian flatly refused.” (p. 303) Coleman explains, “He said he had never bought his artists into anything with cash and did not intend to start.” (p.303)

Honesty was the yardstick of Epstein’s success. As Coleman says in the touching conclusion of The Man Who Made The Beatles, “…Brian died with a golden reputation for integrity and charm intact.” His artists – Gerry and the Pacemakers, Cilla Black, Billy J. Kramer and The Dakotas and so many more including that group called The Beatles – were the bright lights of the 1960s. But their fame and his wealth were not amassed at the cost of Brian’s soul. Epstein wheeled and dealed with “the big cigars” of the entertainment industry and yet, remained unsullied.

In the 1960s, Brian Epstein was regarded as “naïve.” No doubt, he would be ridiculed in our cutthroat world of today. But in August of 1967, Epstein left this world with his honor intact. And his high standards of business behavior contributed much to the outstanding quality that shown through John Lennon, Paul McCartney, George Harrison, and Ringo Starr. Brian expected “his boys” to be “better,” to be special. And they were. To Brian Epstein, everything was personal, especially business.

Rubber Soul Deep Dive Part 14: Run For Your Life

By Jude Southerland Kessler

Side Two, Track Last

“Run for Your Life,” The “Excellent” Potboiler Closer

by Jude Southerland Kessler and Jim Berkenstadt

For the last 18 months, the Fest for Beatles Fans blog has explored the intricacies of The Beatles’ remarkable 1965 LP, Rubber Soul. This month the Rock and Roll Detective, Jim Berkenstadt, author of Black Market Beatles, Nevermind Nirvana, The Beatle Who Vanished, and his recent best-seller, Mysteries in the Music: Case Closed, joins Jude Southerland Kessler, author of The John Lennon Series, for a fresh, new look at the raucous early-Beatles-sounding final track of this creative LP. Jim – who served as the official historian for the Harrison family in the making of George’s biopic film, “Living in the Material World” – has been the Featured Author at Beatles at the Ridge and is a long-time Guest Speaker the Fest for Beatles Fans. We’re honored to have him with us.

What’s Standard:

Date Recorded: 12 October 1965 (the first day of recording for Rubber Soul)

Time Recorded: 2:30 – 7:00 p.m. (In his Complete Beatles Chronicle, Mark Lewisohn says this was the time frame spent on “Run for Your Life.” The session continued until 11:30 p.m., but the rest of the time was spent on John’s “This Bird Has Flown.”)

Studio: EMI Studios, Studio 2

Tech Team

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Ken Scott and Phil McDonald

Stats: Recorded in 5 takes

Instrumentation and Musicians:

John Lennon, the composer, sings double-tracked lead vocals and plays his 1964 Gibson J-160E acoustic guitar. At the outset of the EMI tapes for the day, you can hear John talking to Paul about his “Jumbo Gibson.”

Paul McCartney, sings accompanying double-tracked vocal harmony, plays bass on his 1963 Hofner 500//1 Violin Bass, and according to Hammack, tambourine. (Hammack refers to the tambourine work as “a dominant part of the backing track,” p. 61)

George Harrison sings double-tracked backing vocal harmony and plays either his 1963 Gretsch G6119 Chet Atkins Tennessean electric with Gretsch Bigsby vibrato (more preferred) or his 1961 Fender Stratocaster electric with synchronized tremolo.

Ringo Starr plays one of his Ludwig Oyster Black Pearl Super Classic drum sets and according to some experts, tambourine.**

**This information is from Jerry Hammack’s The Beatles Recording Reference Manual, Vol. 2, p. 61.

Sources: The Beatles, The Anthology, 193-199, Lewisohn, The Complete Beatles Chronicle, 202, Lewisohn, The Recording Sessions, 63, Kruth, This Bird Has Flown: The Enduring Beauty of Rubber Soul, Fifty Years On, 64-68, Womack, The Beatles Encyclopedia, Vol. 2, 796-797, Margotin and Guesdon, All the Songs, 308-309, Winn, Way Beyond Compare, 362-363, Hammack, The Beatles Recording Reference Manual, 61-62, Miles, The Beatles Diary, Vol. 1, 216-218, Turner, A Hard Day’s Write, 98, MacDonald, Revolution in the Head, 129, Riley, Tell Me Why, 170-171, Womack, Long and Winding Roads, 125, and Harry, The Ultimate Beatles Encyclopedia, 570.

What’s Changed:

Unpolished Performance – In his book, Revolution in the Head: The Beatles’ Recordings and the Sixties, Ian MacDonald says of “Run for Your Life”: “The performance is slapdash, Lennon muffing the words and “ popping” the microphone several times by getting too near to it. The guitar-work, some of which is badly out of tune, is similarly rough…” Likewise, in Way Beyond Compare, John C. Winn notes that “…a thumping sound [is present] during the guitar solo.” (p. 362)

Whilst one might assume that The Beatles were getting “sloppy” in their artistry, we must remember that these are characteristics of the Please Please Me LP, which was designed to sound like a raw, unpolished Cavern Club performance. On the “Please Please Me” single, for example, we recall that Paul and John sang completely different lyrics on the “Last night I said these words to my girl” follow-up, and the bobble was kept intact, despite the fact that many “helpful” fans wrote the boys to alert them of their “error.” (Smile.) The glitch, according to Martin, added charm.

It is true that in the autumn of 1965, the boys were under tremendous pressure to get Rubber Soul recorded and polished quickly. Barry Miles in The Beatles Diary, Vol. 1 comments: “The Beatles were trapped on a deadline-powered treadmill.” (p. 216) They hadn’t paused once all year from the making of their United Artists film “Help!” and its accompanying LP to their European Tour to the July movie premieres and a live Blackpool show for the ever-demanding BBC to the 1965 North American Tour and the impending 1965 UK Tour. So, time was a commodity of which The Beatles had precious little.

But that did not stop Rubber Soul from being one of their most artistic, incredible LPs. In fact, John Lennon commented, “We were…getting better, technically and musically…we finally took over the studio. On Rubber Soul, we were sort of more precise about making the album…” (p. 21) Thus, the glitches in “Run for Your Life” seem to have been left in the song intentionally. They gave the track an early Beatles flavor. On an album replete with new outlooks, new instruments, and new sounds, here at last, fans could find “the lads from Liverpool.” For many, it was a refreshing, “ahhhhhh!” moment.

John Lennon (instead of Paul McCartney) “does Elvis” – One wonderful feature of The Beatles’ Cavern Club shows was Paul’s talented homage to Elvis in songs such as “That’s All Right, Mama.” Able to closely imitate the American star to a “T,” McCartney always brought down the house with his Presley renditions. Here, it was John Lennon’s turn to pay tribute to the icon. Indeed, John wrote this entire song based on two lines from one of Elvis’s classic rockabilly tracks (“Baby, Let’s Play House,” composed by Arthur Gunter): “I’d rather see you dead, little girl/ than to be with another man.”

Then, employing a jagged, halting vocal style, John performs “Run For Your Life” a la E! In fact, in All the Songs, Margotin and Guesdon tell us that “In the first take, John’s voice was wrapped in a slap-back echo, which [gave] a rockabilly feel to the piece.” (p. 308-309) And to make the sound even more authentic, the song was laced with George Harrison’s “chord slides,” to enhance that 1950s Elvis sound. Having met and talked with Presley in his Los Angeles mansion only a few weeks earlier, John offers this Rubber Soul nod to his hero, of whom he had often quipped, “Before Elvis, there was nothing.”

A Glimpse Back at The Early Beatles – As we’ve observed in songs such as “Drive My Car,” “Norwegian Wood,” “Girl,” “What Goes On,” “You Won’t See Me,” and even “Michelle” (who doesn’t even know the adoring male exists), the women of Rubber Soul are not the up-on-a-pedestal, helpless women in “Ask Me Why,” or “Do You Want to Know a Secret” or “I Need You.” Rubber Soul’s women are strong, independent, and many times, unemotional. And their romantic relationships are quite complicated. In “Run for Your Life,” for example, the female is suspected of infidelity.

John’s reaction to her unfaithfulness, however, isn’t as open-minded or “as 1965” as the other songs on Rubber Soul seem to be. Lennon reacts like John of old: John of the Casbah, John of the Cavern boards, John of gritty Hamburg. He reveals himself as the jealous “Northern man” that he’s always been. His attitude is inappropriately edgy, as are his threats, founded in wounded machismo. And in later years, John regretted and apologized for these lyrics.

But the “antiquated attitude” John expressed was not intended as an anti-feminist statement. As Tim Riley points out in Tell Me Why, this is merely Lennon “let[ting] off steam.” (p. 170) According to John, “‘Run for Your Life’…was just a song I knocked off” (Kruth, p. 66), “just a sort of throwaway song of mine that I never thought much of.” (Riley, 170). It’s merely a hard-charging, angst-filled rock anthem that gets the blood pumping. On an LP featuring sitars, melodies that hint at a droning tabla sound, exotic French lyrics, baroque orchestration, and elevated themes embracing the agape love of mankind, “Run for Your Life” sweeps the listener back to an earlier era. (Arthur Gunter wrote “Baby, Let’s Play House” in 1954, and Presley released it in 1955.) Here, in this final track of an extremely metamorphic LP, we encounter our band of old: The Beatles. As Jerry Hammack so aptly observed in his Beatles Recording Reference Manual, Vol. 2, “ ‘Run for Your Life’ might have been a warning shot across the bow of expectation that these were still the same lovable mop tops that had burst upon the scene just three years earlier.” The past was still a part of them all – and of John, in particular.

A Fresh New Look:

Recently, John Lennon expert Jude Southerland Kessler sat down with the Rock and Roll Detective, best-selling author Jim Berkenstadt, to talk about this LP-closing rocker. Accustomed to routing out rock’n’roll’s greatest mysteries in books such as Black Market Beatles, consulting to the late George Harrison and The Beatles Apple Corps Ltd, and his latest release, Mysteries in the Music: Case Closed, Jim agreed to give us his unique perspective on “Run for Your Life.”

Jude Southerland Kessler: Jim, thank you for taking time out from the making of the new movie based on your book The Beatle Who Vanished to talk with our Fest Family about “Run for Your Life.” You know, in John Kruth’s book This Bird Has Flown, The Enduring Beauty of Rubber Soul, Fifty Years On, he tells us that if one listens to the EMI tapes for 12 October 1965, one can hear John – preparing the band to record “Run for Your Life” – directing the others to “make it heavy!” (p. 63) Kruth says this was “years before anyone had heard the term heavy metal, or used the term heavy instead of profound.” (p. 63) So, what is John Lennon after here, Jim? And how do The Beatles accomplish that “heavy” goal?

Jim Berkenstadt: Thanks, Jude.

Even though many have described this track over the years as a toss away or album filler, I loved this song the first time I heard it, which was Christmas Day, 1965. I will never forget get it.

The musical and vocal elements are what make the song “heavy”. I don’t think Lennon meant heavy in the sense of the future genre “heavy metal.” I think he meant that suggestion as a way to get the entire band to play it as a hard rocker. Clearly, his recent visit with Elvis in LA, and John’s love of early Elvis recordings was on his mind when he began to write the song. It is interesting that The Beatles recorded the song exactly 10 years after Elvis released his song, “Baby Let’s Play House.”

I believe John wanted a tougher rock sound to match the macho, edgy vocals and jealous lyrics he was writing. Even the acoustic strumming at the start sets the driving pace, as the loud opening lead guitar riff kicks in, pulling the listener in to pay attention to Lennon’s opening and threatening lyrics. At the same time, we hear a very hard 2 and 4 backbeat from Ringo on drums and Paul overdubbing the driving tambourine. I think the double-tracked backing vocals and harmonies in the chorus are very strident, crisp and aggressive too. At the same time, they are beautiful and precise in their execution. The guitar slides that accompany the tough lead guitar solo by George are amazing. All of these elements combine to push the listener to pay attention. The song achieves its “heavy” goal with its driving passion and sound. Musically it is very hooky and catchy. You cannot get the song out of your head after only one listen.

Kessler: Kruth also says that “Run for Your Life” was “tacked on at the end of the record, stashed behind a second Harrison number (on the U.K. version).” (p. 66) But traditionally, George Martin had always given special attention and consideration to the closing “pot-boiler” on each of The Beatles’ LPs. Tell us about some of the other exceptional closing songs, please, Jim. And do you think “Run for Your Life” measures up?

Berkenstadt:

The Sgt. Pepper LP featured “Sgt Pepper’s Lonely Heart’s Club Band (Reprise),” which has a similar hard-charging feel that provides us with another closing “Pot Boiler” like “Run for your Life.” And my favorite LP-ending song by The Beatles will always be “The End,” from Abbey Road, with the group trading solos in a rousing farewell to their fans. But, it is important to recall that The Beatles matured and changed with each album they created. I think Rubber Soul was a transitionary album that drew a bit from the old days and also shared a more mature future musical direction as well. For that reason, comparing closing numbers is a bit of “apples and oranges.” However, I think “Run For Your Life” really holds up as a great album closer 27 years on.

Kessler: Okay, the elephant in the room! Our friend Ken Womack, in Vol. 2 of his Beatles Encyclopedia informs us that in 1992, Ottawa’s radio station CFRA banned “Run for Your Life” for its misogynistic lyrics. When Beatles fans wrote in to inform the station that the offensive line was a direct quote from Elvis’s “Baby Let’s Play House,” that song was then banned as well. But CFRA did not ban Jimi Hendrix’s “Hey Joe” or Nancy Sinatra’s version of “Run for Your Life” in which she sings “I’d rather see you dead little boy than to be with another woman.” They did not ban Johnny Cash’s “Cocaine Blues” or the Rolling Stones’ “Under My Thumb” or Dylan’s “Just Like a Woman.” For that matter, they didn’t ban female rockers performing songs such as the Crystals’ “He Hit Me (And It Felt Like a Kiss)” or Joanie Summers performing “Johnny Get Angry.” So, what’s really at play here, Jim? Does John Lennon’s penchant for being constantly censured figure into the mix?

Berkenstadt:

Censorship of music has always been a slippery slope. In my new book, Mysteries in the Music: Case Closed, I reviewed 100s of pages of de-classified FBI investigation documents into whether the song “Louie Louie” by The Kingsmen was in fact obscene. In that case, the FBI and the Governor of Indiana (who basically banned the record from radio in violation of the First Amendment) were pre-disposed to find something wrong with the song. I detailed their sloppy investigations which were an embarrassment. The 3-year FBI witch-hunt cost taxpayers around $62 million dollars in today’s money, and never found any evidence of obscenity. The details I revealed in the book demonstrated what they failed to find and what they should have discovered. Readers will enjoy this fresh new deep-dive on the topic of music censorship.

The censorship of John Lennon’s song doesn’t necessarily indicate that they were picking on Lennon per se. Censorship really is a totally subjective process. Perhaps the station chose Lennon for a public relations reason? Admittedly, Lennon and The Beatles were bigger than all of the other artists they could have picked on. By selecting him, perhaps they thought they might gain more listeners from the controversial publicity? Or maybe someone didn’t like The Beatles at that station? We may never know the motive behind this action. I think the only way to truly answer this question would be to locate all of the decision makers at the station in 1992, and ask them about their motives in the censorship of Lennon’s song and try to determine why they chose the Lennon/ Beatles song and not the others.

Ironically, the biggest pop song of last year was not investigated by the FBI for obscenity. It was a Cardi B hit called, “WAP.” I will let your readers look up what that stands for. LOL.

Kessler: Jim, so many Beatles experts link this 1965 song to earlier Lennon “insecurity” tracks such as “No Reply” and “You Can’t Do That.” Others see “Run for Your Life” as a precursor to “Jealous Guy,” “I’m Losing You,” and “Crippled Inside.” There is an obvious common denominator in John’s life story…the story he tells us over and over and over throughout his career. Talk a little about that, please, Jim, and what other songs do you see as part of this “Lennon Litany of Loss”?

Berkenstadt:

Sadly, as many Beatles fans know, John lost his mother two times. The first time was after his parents broke up and John went to live with his Aunt Mimi. This alone would have been traumatic enough for a young boy to see his mom get together with another man and start a new family without him in the home. But then, as he was starting to spend more time in his teens with his mom, and she was teaching him guitar chords and giving him his first guitar, she was sadly killed by an off-duty drunken officer who hit her with his car. The loss of family at a young age can create a lifelong trauma, not easily remedied. I think John’s trauma did lead to many songs of loss, sadly. Perhaps the most poignant song he ever wrote was “Mother.” Who can forget the grief-filled and chilling lines of John’s Plastic Ono Band song:

Mother, you had me but I never had you,
I wanted you,
You didn’t want me
So I, I just got to tell you
Goodbye goodbye.
Father, you left me but I never left you,
I needed you,
You didn’t need me
So I, I just got to tell you
Goodbye goodbye.

This is such a broken-hearted song. It is my belief that John did benefit from putting his grief and feelings of loss into his music. In a way, it was a healthy form of therapy. And it probably served to help others who had similar childhood traumas to relate to Lennon’s honest and brave “Litany of Loss” songs.

Kessler: Jim, thank you so much for your insights into this controversial but (as Margotin and Guesdon observed) “excellent song.” (p. 309) I’m enjoying your intriguing Mysteries in the Music: Case Closed book so much! And I can’t wait to see you in Chicago in just a few weeks for the Fest!

For more information on the Rock and Roll Detective Jim Berkendstadt, go to:

Mysteries in the Music: Case Closed (free excerpt download and signed copies)

The Beatle Who Vanished (free excerpt download and signed copies)

HEAD HERE to learn more about all of Jim’s projects

You can meet Jim in person at the Chicago Fest for Beatles Fans, Aug. 12-14 at the Hyatt Regency O’Hare where he’ll be discussing and signing his most recent book, Mysteries in the Music, Case Closed.

To purchase Jim’s books, go to: Amazon.com: Jim Berkenstadt: Books, Biography, Blog, Audiobooks, Kindle and www.thefest.com

Follow Jim on Facebook here

Rubber Soul Deep Dive: The Iconic Album Cover

By Jude Southerland Kessler

“There is no p-l-a-s-t-i-c in Rubber Soul”

by Jude Southerland Kessler and Rande Kessler

What a thrill to have my husband Rande Kessler with me this month to explore the artistry of Rubber Soul’s unique cover. Rande is a respected Louisiana artist who was selected as The Caroline Dorman Artist of the Year and featured in a one-man show in Shreveport’s Norton Art Gallery. He won the Melrose Arts Festival and his multi-media sculptures of The Beatles were featured at The GRAMMY Museum of Mississippi’s Beatles Symposium. and he has drawn the unique portraits of John Lennon that grace the covers of She Loves You, Should Have Known Better, and Shades of Life, part 1 (Vols. 3, 4, and 5 in The John Lennon Series.) Rande is the owner of OnTheRockBooks and co-hosts the Focal Points webinars with me. Here are his insights into this magical, unique Beatles album cover!

What’s Standard:

Date Released: 3 December 1965 in the U.K. as the sixth studio album by The Beatles. 6 December in the U.S.

Date Photographed: Late 1965

Location: Many sources state that the location for the photo shoot was John Lennon’s Kenwood garden in Weybridge, Surrey, U.K. (according to Robert Freeman and Bill Harry, The Ultimate Beatles Encyclopedia, 255, and Spizer, The BEATLES Rubber Soul to Revolver, 192-196.)

Photographer: Robert Freeman; graduated from Cambridge in 1959. Before beginning his professional career as a photographer, he worked for a short time as Director of Contemporary Arts in London. In 1963, Freeman, who was noted for artistic portraits of jazz musicians, “made a chance phone call to Dick Fontaine” a friend of his in Manchester. Fontaine had filmed The Beatles in the Cavern Club and suggested that if Freeman wanted to photograph musicians, he should “have a look at them, as they were a talented band…” (Freeman, p. 8) So, after contact, Freeman was asked by Brian Epstein to send photo samples to Wales to show the boys. He assembled a portfolio of portraits he had taken of jazz musicians, such as Dizzy Gillespie and John Coltrane. On 20 August 1963, at Epstein’s request (and after the boys had seen the work), Freeman traveled to meet them. (Freeman, p. 9) His artistic focus on musicians’ portraits and musicians in concert, was the “flash” that highlighted his photographic talent for the Fab Four.

The Photographees:

John Lennon, sporting a brown suede jacket, second from the left on the cover, obviously taking a “selfie,” looking at the camera with scrutiny and a hint of panache. There was a small, loose thread on his right shoulder which was airbrushed out on most covers (Spizer, The Beatles for Sale on Parlophone Records, p. 206 and http://webgrafikk.com/blog/uncategorized/lennons-thread/ You can see the thread in this…thread).

Ringo Starr, also wearing a brown suede jacket, with a blank stare to his right.

Paul McCartney, again with a suede jacket, this time more charcoal-colored, seems concerned with something George spotted.

George Harrison, barely in the picture (as was often his complaint) looks concerned about being too close to the edge of the album cover. He is quoted as saying about the album, however, “…The picture on the front is pretty good.”

Background: Rhododendron bush, not marijuana. And no LSD was harmed in the creation of the Rubber Soul artwork.

Sources: The Rubber Soul album covers, both EMI and Capitol; Lewisohn, The Beatles Recording Sessions, 69, Spizer, The Beatles for Sale on Parlophone Records, 204-206; Spizer, The BEATLES Rubber Soul to Revolver, 192-196; Freeman, The Beatles, a private view, 8-9 and 64, Martin, The Beatles Diary, Vol. 1, 216; Kruth, This Bird Has Flown: The Enduring Beauty of Rubber Soul Fifty Years On, 37-42, and Harry, The Ultimate Beatles Encyclopedia, 254-255.

What’s Changed:

The times – According to Spizer’s compilation and as stated by Freeman himself, Freeman was searching for “…another angle on the group and a different tonality…“ (Freeman, p. 64). Kruth (This Bird Has Flown, p. 37) discusses this change in angle and tonality as compared to Freeman’s previous photo work on Beatles for Sale. Freeman, of course, had been photographing The Beatles since Meet the Beatles, making Rubber Soul his fifth cover endeavor, albeit his last.

No matching outfits…and no ties – The Beatles are not in a “posed band” or photo-promo shot. And the boys “stood shoulder to shoulder, huddled together in the cool autumn air.” (Kruth, p. 37) Indeed, to quote Robert Freeman: “Uniformity was out.” (p. 64)

An album as artwork rather than simply “a collection of singles” – According to George Martin, the intention was to present “a new Beatles to the world…And Rubber Soul was the first to emerge that way.” (Martin, p. 216) Robert Freeman, it seems, was achieving that by first developing a photographic moment in dissolving light, perhaps to show a dissolving from “Beatles before to The Beatles after”? Next, Freeman adds graphic distortion to the photograph, which happened by accident, but was liked by The Beatles (Freeman p. 64). Viewers were now seeing The Beatles’ images as reflections in a chrome door knob. Perhaps, as we reached for them, Freeman was inviting us to open the door to a new album experience.

No “nametag” – The group’s name does not appear on the cover for the first time in Beatles history. (Spizer, p. 204) I think the time had arrived to acknowledge four individual artists creating music as a band, versus “a band” of four talented musicians. Cheers. Everybody knew their name.

This “say no more” license was repeated again with the advent of the White Album. As The Beatles’ ninth LP, it was officially released in 1968 as “The Beatles.” But fans quickly identified the record according to the look of the white jacket instead, without need for “the” band name!

A Fresh New Look:

Rande Kessler has been part of our Fest Family for the last 15 years. He has produced the over 45 Power Point presentations that Jude has given during that time. His “Shine On” Beatles original T-shirt and John Lennon “Should Have Been There” T-shirt have been bestsellers, and Rande’s “Doors of Liverpool” art poster of unique photographs of each Beatle home and venue has been a Fest favorite. Kessler’s work has been featured in the “Artists of the Wiregrass” showcase and in Dothan magazine.

Jude Southerland Kessler: Rande, I know you are…um, quite familiar with The Beatles. As an artist, musician, and photographer yourself, does anything come to mind that you’d like to share about the cover of Rubber Soul?

Rande Kessler: The Beatles, oh yes, that group from Liverpool!! They are, fortunately, in my life. I have T-shirts that say “Give Peas a Chance,” “While My Guitar Gently Weeps,” “Hey Jude,” (of course), and “Lived a Man Who Sailed the Sea.” I do have some thoughts about the Rubber Soul cover.

Robert Freeman said about all his cover photographs, “My intention was to keep the compositions simple, so that the focus of attention would always be on The Beatles as personalities.” With the Rubber Soul cover, I think the intention was to wash their personalities across another new canvas of Beatles music and art. I think when author John Kruth said of Freeman’s photography work, “The effect was to stretch the perspective…” he nailed it. (Kruth, p. 39)

Kruth goes on to say Freeman believed “the distorted effect was a reflection of the changing shape of their lives.” Rubber Soul was, as typical of The Beatles, a game-changer from cover-to-songmanship-to cover. The title with its equally transitional graphic also melded well with the photo work to depict the depth of The Beatles’ forever fluid offerings to the world. As usual, there was no shallow depth to that pool. In an article for The Daily Beatle, Patrick Roefflaer points out the Rubber Soul clever wordplay on ‘Plastic Soul.’” He elaborates that “plastic soul” was an expression “that black musicians were using to describe The Rolling Stones.” Mark Lewisohn adds: “Paul frequently repeated the words, ‘Plastic soul, man, plastic soul!’ And then, for the benefit of the other Beatles, and now history, he went on to explain that it was a phrase coined by black musicians to describe Mick Jagger.” (The Beatles Recording Sessions, p. 69)

The “rubber” component was explored further by graphic designer Charles Front (contacted by Freeman for the lettering) using his “innovative typography,” as Kruth puts it. Front researched rubber processing and successfully added the graphic look of rubber to the letters themselves. Front said, “If you tap into a rubber tree, you get a sort of globule…” (Spizer, The BEATLES Rubber Soul to Revolver, p. 192) And voila!

So, here we have an album cover, graphics, and title that encompassed The Beatles’ history and love of black rhythm and blues, The Beatles’ competitive and respectful musicians’ dance with The Rolling Stones, The Beatles’ introduction of albums as art collections, The Beatles’ transition from “the way they was,” and even the triple entendre of mixing rubber vs plastic, soul vs sole, and fluid graphic to fluid sound. Who knows, maybe they even thought, “Hey, Rubber Soul begins with “R – S” for more axe-play with “R-olling S-tones”?

The cover was subtle, and obvious, and fluid: an artistic portrayal of a transition, and of the four unique individuals involved in that change. Much detail about the cover development process and edits is provided by Spizer and Freeman – and explored by Kruth – but the artistic view of the cover art challenges us to see beyond the clever cover creation and into the creativity it presents.

What individual personalities do each of us see in Robert Freeman’s photograph? What messages are being conveyed? How does the cover encourage us to use new perspective when we pull the LP from the sleeve and listen? The artistry of the best photograph is to capture myriad descriptions in one still scene: to make a statement. In the case of the Rubber Soul cover, it also captures the observer. Instead of reacting to the cover art with stagnant appreciation, we react with dynamic processing. We think, “Hmmm, what’s this about?”

Freeman wanted to use his skill to present us with four Beatles pens and one signature, to introduce us to the full art potential of album covers, and to tease our sense of reality with distortion. And when we look at the Rubber Soul cover, Lennon clearly tasks us to try to keep our balance.

For more information on Rande M. Kessler, HEAD HERE

Follow Rande on LinkedIn HERE

To view an uncropped Freeman cover shot, HEAD HERE

Rubber Soul Deep Dive Part 13: If I Needed Someone

By Jude Southerland Kessler

Side Two, Track Six

“If I Needed Someone”

Through 2021 and 2022, the Fest for Beatles Fans blog has explored The Beatles’ remarkable 1965 LP, Rubber Soul. This month, Lanea Stagg, author of The Recipe Records Series including the original Recipe Records, Recipe Records: Sixties Edition, Recipe Records: A
Culinary Tribute to The Beatles, and The Rolling Scones: Let’s Spend the Bite Together joins Jude Southerland Kessler, author of The John Lennon Series, for a fresh, new look at the exciting next-to-last track on this unique, creative LP.

What’s Standard:

Date Recorded: 16 October (superimpositions added 18 October)

Time Recorded: Late in the evening of 16 October, probably around 11.30 p.m. Most of the session (from 2:30 p.m.-midnight) had been spent on “Day Tripper.” In Way Beyond Compare, John C. Winn says, “Before going home for the night, The Beatles also started work on a George Harrison composition, “If I Needed Someone.” (P. 364) And Mark Lewisohn in The Complete Beatles Chronicle gives us a time stamp by saying that the boys turned to George’s creation “with the clock ticking towards midnight…” .

Studio: EMI Studios, Studio 2

Tech Team

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Ken Scott

Stats: Backing track (of bass, drums, rhythm guitar, and twelve-string electric guitar) recorded in one take on 16 October 1965. (p. 364)

Then, on 18 October, George double-tracked the lead vocal, accompanied by John and Paul’s harmonies to create the famous Beatles 3-part harmony. Then, Ringo on tambourine and George were on lead guitar recorded together on another track.

Instrumentation and Musicians:

George Harrison, the composer, sings lead vocal, plays on his 1965 Rickenbacker 360/12 (12-string electric guitar).

John Lennon sings harmony vocals and plays rhythm on his 1961 Fender Stratocaster with synchronized tremolo.

Paul McCartney sings harmony vocals and plays bass on his 1964 Rickenbacker 4001S bass.

Ringo Starr plays one of his Ludwig Oyster Black Pearl Super Classic drum sets and plays tambourine in superimposition.[i]

Sources: Lewisohn, The Complete Beatles Chronicle, 202, Lewisohn, The Recording Sessions, 64, Gunderson, Some Fun Tonight! The Backstage Story of How The Beatles Rocked America: The Historic Tours of 1964-1966, 90-91, Everett, The Beatles as Musicians: The Quarry Men through Rubber Soul, 318-319, Margotin and Guesdon, All the Songs, 306-307, Winn, Way Beyond Compare, 364, Hammack, The Beatles Recording Reference Manual, Vol. 2, 71-72, Miles, The Beatles Diary, Vol. 1, 218, Turner, A Hard Day’s Write, 98, Spizer, The Beatles for Sale on Parlophone Records, 203, Babiuk, Beatles Gear, 167-168, Womack, Long and Winding Roads: The Evolving Artistry of The Beatles, 125, and Mellers, Twilight of the Gods: The Music of The Beatles, 61.

What’s Changed:

Influence of the Byrds and the Folk Rock Sound – During the 1965 North American Tour, when Capitol’s Alan Livingston threw a party for The Beatles and invited stars such as Edward G. Robinson, Groucho Marx, Eddie Fisher, Jack Benny, and Rock Hudson, George opted to “go his own way” for a meeting with the chart-topping folk-rock group, the Byrds. The California group’s “Mr. Tambourine Man” (written by Bob Dylan) had hit Number 1 on 26 June 1965, and the Byrds had said in several interviews that they liked The Beatles’ music, were inspired by them, and in fact, played the exact same instruments that The Beatles played.

Indeed, Harrison’s 12-string Rickenbacker lead became an important part of the Byrds’ signature sound. Honored by this homage, George wanted to get to know the group and made the effort to visit them. As a result of this meeting, plus a second visit to the Byrds in studio (on 27 August, this time accompanied by Paul), George began to compose a new song in West Coast folk-rock genre. In fact, Harrison specifically stated that the guitar riff of the Byrds’ “The Bells of Rhymney” and the melody of their song “She Don’t Care About Time” inspired “If I Needed Someone.” (Turner, 98) More about this coming up in Lanea Stagg’s “Fresh, New Look.”

However, “If I Needed Someone” isn’t at all derivative of these two Byrds compositions. Instead, George’s second original song on the Rubber Soul LP is actually a study written around the D chord. George marveled that “a million other songs” had also been written around the D chord. He said, “If you move your fingers about, you get various other melodies…it amazes me that people still find new permutations of the same notes.” (Margotin and Guesdon, 306 and Turner, 98) And yet, the influence of the Byrds’ jingle-jangle sound – enhanced by Ringo’s work on tambourine – gives “If I Needed Someone” a unique timbre.

George’s New Guitar – On the 1965 North American Tour, at the end of the Minneapolis press conference, a special presentation took place. The co-owners of a local music store named B-Sharp gifted George with a Rickenbacker Fireglo (red sunburst) 360/12 (12-string electric guitar). Both Andy Babiuk in Beatles Gear (pp. 168-169) and Chuck Gunderson in Some Fun Tonight! The Backstage Story of How The Beatles Rocked America: The Historic North American Tours, 1964-1966 (p. 91) give us the backstory for this presentation. They say that when Liverpool’s Remo Four had visited the shop some weeks before The Beatles landed in Minneapolis, the group spotted the instrument and commented, “George [Harrison] would love this!” Right then and there, owners Randy Resnick and Ron Butwin decided to give the Rickenbacker to George when The Beatles arrived in Minneapolis on 21 August. George was thrilled! And as a result, both Butwin and Resnick were given VIP seats in the Twins dugout for the concert in Metropolitan Stadium. It is this new guitar that George uses on “If I Needed Someone.”

Toughness in Romantic Relationships – As we’ve discussed previously, all of the songs about women on Rubber Soul are 180-out from the early Beatles’ head-over-heels attitudes in “She Loves You,” “From Me to You, “Ask Me Why,” “Do You Want to Know a Secret,” and “I Want to Hold Your Hand.” On Rubber Soul, love has become complicated. “Drive My Car” featured a hard-charging female determined to get to the top and only interested in a man who can “drive her car.” “Girl” shone a light on a callous woman who “put you down when friends are there/you feel a fool.” The girlfriend in “You Won’t See Me” doesn’t “treat me right,” and even the enchanting “Michelle” doesn’t realize that her suitor exists! In “If I Needed Someone,” however, the problem isn’t rejection of the male. It’s his (rather reluctant) rejection of her with the wistful caveat that “Had come some other day/Then it might not have been like this/But you see now I’m too much in love.” Rubber Soul’s relationships are clearly not simple or sweetly romantic. As Wilfred Mellers points out, “In all these songs, there’s a toughness, beneath lyricism or comedy that is not evident in other songs.” (p. 61)

A Fresh New Look

Note from Jude Kessler: It has been my distinct pleasure to work hand-in-hand with author Lanea Stagg almost daily for the last ten years. Together we produce the monthly podcast “She Said She Said” on Apple Podcasts, Podbean, and Spotify. In our five years with that show, we’ve been blessed to interview Julia Baird, May Pang, Ken Mansfield, Roag Best, Helen Andersen, Chas Newby, Leslie Cavendish, and so many others in The Beatles family as well as a host of Beatles experts and authors. From 2012-2019, Lanea and I co-chaired the Authors and Artists Symposium for Walnut Ridge, Arkansas’s “Beatles at the Ridge.” And in 2016, we worked together to chair the GRAMMY Museum of Mississippi’s Beatles Symposium. Lanea is not only the author of the Recipe Records Series, but is also the author of two successful children’s books, Little Dog in the Sun and Little Dog About Town. She has been a Guest Speaker at the Chicago Fest for Beatles Fans, Abbey Road on the River, and the Monmouth University White Album Conference. Her articles have appeared on the All Music website and in 2021, she worked with Angie and Ruth McCartney to feature her recipes @GourmetNFTOfficial. I was so thrilled to be able to sit down and chat with Lanea about George Harrison’s second song on Rubber Soul.

Jude Southerland Kessler: In the “What’s New” segment of this blog, we discussed the strong influence of the Byrds on this George Harrison number. What elements of the “jingle-jangle folk rock” movement has Harrison employed in “If I Needed Someone”?

Lanea Stagg: It is a very curious musical event when one band gives another “the nod” by borrowing another band’s riff, or other sound. When we hear that curiosity today, we don’t really think of this as “a nod,” but more as stealing!

George’s song, “If I Needed Someone,” actually contained “the nod” to California band the Byrds, who were comprised of Roger McGuinn (known as “Jim” at that time), David Crosby, Gene Clark, Michael Clarke, and Chris Hillman. But…the Byrds (as Jude noted in the “What’s New” segment) had created their sound based upon influence from The Beatles’ music, specifically from the film A Hard Day’s Night. McGuinn was very taken with the sound of Harrison’s 12-string Rickenbacker, so he acquired one as well. Chris Hillman stated in 2008 for Central Coast Magazine, “McGuinn saw George playing a Rickenbacker 12-string in A Hard Day’s Night. McGuinn had been playing a Gibson acoustic 12-string when he saw Harrison,” and the rest became history.

When George met up with the Byrds in California, they discussed their sounds. The Byrds had released “The Bells of Rhymney” in June 1965, and George was very fond of the jangly 12-string Rickenbacker riff. George incorporated the riff as “a nod” back to the band.

I recommend listening to “The Bells of Rhymney,” and it won’t take long to recognize the riff. The song is a very old story, and quite sad, about a coal mining disaster in Wales. Harrison loved the sound McGuinn used with the Rickenbacker, and he “borrowed” the riff for “If I Needed Someone.”

In a 2004 interview for Christian Music Today, Roger McGuinn said, “George Harrison wrote that song [“If I Needed Someone”] after hearing the Byrds’ recording of ‘Bells of Rhymney.’ He gave a copy of his new recording to Derek Taylor, The Beatles’ former press officer, who flew to Los Angeles and brought it to my house. He said George wanted me to know that he had written the song based on the rising and falling notes of my electric Rickenbacker 12-string guitar introduction. It was a great honor to have in some small way influenced our heroes, The Beatles.”

Curiously, “If I Needed Someone” was not on the U.S. release of Rubber Soul. It wasn’t released in the U.S. until June of 1966 when it appeared on the LP Yesterday and Today. So, it was a BIG DEAL for George to send a copy of his recording to Roger McGuinn!

So, here we have George writing a song where he was inspired by the Byrds, and in “turn, turn, turn,” the Byrds were first inspired by The Beatles.

Kessler: Lanea, many music experts have tagged “If I Needed Someone” as the precursor to “Within You Without You” and “Love You To.” Some have even noted that it might have served as a springboard for John Lennon’s “Tomorrow Never Knows.” What musical connections do you see between this 1965 composition and George’s later Indian-inspired melodies?

Stagg: Musicology is not for the faint of heart! With so many elements to digest in a song – especially a Beatles’ piece – the casual ear might miss a tasty morsel.

I find this to be the case in George’s “If I Needed Someone.” First, we hear the satiny smooth jingle-jangle of the Ric as well as a steady bass, which is greeted with George’s declaration: “If I needed someone to love/You’re the one that I’d be thinking of.” The frosting on this delicacy is the harmony by John and Paul as well as Ringo’s tambourine. That all happens in 20 seconds!

What develops further in this song is quite full. As mentioned earlier in the “What’s Changed” segment, the song is built around the D chord. This produces a rather dronish sound…which conjures up the possibility of adding a sitar (which George was learning to play). However, here he chose not to.

Musician/songwriter Rande Kessler stated that George “was enjoying a playfulness around only a few chords, climbing and descending a small scale to produce a lilting, droning, chanting effect. It is almost a repetitive “humming” sound that is sung along with his Ric 12-string, more or less emulating a sitar. The melody doesn’t stray far from the original chord, and the bridge simply floats a variation that brings the melody back to the beginning. To me, ‘Within You Without You’ essentially takes that same lilting chord-orbit that George started with and uses the sitar to play along with the chanting melody…as an evolution from “If I Needed Someone” and its sitar-sounding capoed Ric 12-string.”

In Hunter Davies’s The Beatles Lyrics, George states: “[Rubber Soul] is my favorite. We certainly knew we were making a good album. We were suddenly hearing sounds that we weren’t able to hear before, everything was blossoming at the same time, including us, because we were still growing.”

Kessler: Many music experts have referred to this song as “a tribute to Pattie Boyd” (who became Pattie Harrison in January 1966). And yet, George’s response to the flirtatious “other” in this song is rather coy and complicated. I see a bit of a parallel between “if I Needed Someone” and another 1965 hit written by The Lovin’ Spoonful entitled “Did You Ever Have to Make Up Your Mind?”. Do you? And do you think that this song serves as a tribute to Pattie Boyd?

Stagg: Many sources state this song is a tribute to Pattie Boyd. However, if I were Pattie Boyd, I would hope not! George Harrison is clearly leaving the door open for one, or perhaps more, potential love interests…in case things do not work out with Pattie.

George does proclaim, “I’m too much in love,” and therefore, announces to the ladies that his heart has been stolen away by the gorgeous Miss Boyd. Remember, George was only 22-years-old when he penned “If I Needed Someone.” He had been swarmed by women for years, and I’m sure had played a lot of games. Perhaps he was unsure if Pattie would continue to be in love with him, especially knowing the challenges attached to being a “Beatle wife.” He had seen how difficult that was for John. So, perhaps George is keeping one foot in the door…just in case!

“If I Needed Someone” is the beginning of George’s effort to pen meaningful lyrics. The song was released on the UK Rubber Soul LP almost one year after the release of The Beatles’ album Beatles for Sale, where George gave a cover performance of Carl Perkins’s “Everybody’s Trying to Be My Baby.” We envision George singing, “Everybody’s trying to be my baby,” over and over…and perhaps he really was experiencing the deluge of women trying to be his baby! Was that part of the inspiration for his 1965 lyrics: “Carve your number on my wall…”? Could George have written a follow-up to his experiences during that year where there was ALWAYS someone trying to be his baby? George was enveloped in Beatlemania and the avalanche of women trying to get to him.

While Lennon and McCartney were able to create intricate lyrics as easily as taking a breath, George had to work harder at it. His early songs were rather unpolished and at times, even bland. On Rubber Soul, he penned lyrics for not only “If I Needed Someone,” but also “Think for Yourself.” “Think for Yourself” is a rather somber statement to fans as opposed to the syrupy songs they were used to from Lennon/McCartney. The tune is peppy, but the lyrics, not so much.

The boys were faced with many choices, and it feels as if George is choosing to “make up his mind” to pick up on Pattie and leave the other birds behind.

Kessler: Lanea, “If I Needed Someone” is ranked #54 in Spignesi and Lewis’s 100 Best Beatles Songs – a rather impressive rating! The song is so appealing that it has been covered by the Kingsmen, Cryin’ Shames, Hugh Mackels, Michael Hedges…and the Hollies. However, George Harrison despised the Hollies’ version of his song. He said, “I think it’s rubbish the way they’ve done it. They’ve spoilt it.” (Womack, Long and Winding Roads, The Evolving Artistry of The Beatles, 125) What do you hear in the Hollies’ version of “If I Needed Someone” that supports or refutes George’s appraisal?

Stagg: I concur with George Harrison. Hearing the version released by the Hollies is a let-down, and if I were George, absolutely would not consider it a compliment!

While the Hollies perform the song in their unique and typical sound, they come off sounding tinny, and George’s beautiful riff was now played on what sounded like a plastic guitar! The Beatles’ brilliant performance of harmonies on George’s song really cannot be matched or recreated. The Hollies lack the crisp, clean, and more pure harmonies that The Beatles flawlessly added to George’s song. I think George was right, and I would send the Hollies back to the “Bus Stop!”

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[i] Instrumentation information from Jerry Hammack’s The Beatles Recording Reference Manual, Vol. 2, 71.