Jude Southerland Kessler

Revolver Deep Dive Part 3: I’m Only Sleeping

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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:

 

  1. 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.

 

  1. 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 5th, 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.

 

  1. 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.

 

For more information on From Strawberry Fields to Abbey Road: A Billy Shears Story, HEAD HERE

For more information on Don Jeffries, HEAD HERE

For more information on Jeffries’ publications, HEAD HERE

Follow Don on Twitter HERE

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

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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 60th 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

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Rubber Soul Deep Dive Part 10: I’m Looking Through You

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Side Two, Track 3

 

“I’m Looking Through You”… Again!

 

by Jude Southerland Kessler and Scott Freiman

 

Last year at this time, we kicked off an in-depth study of The Beatles’ 1965 classic, Rubber Soul, examining what we know about this pivotal LP and then, taking a “Fresh New Look” at many aspects of the album that hitherto have not been considered. We’ve called upon experts in our own Beatles family (such as Kenneth Womack, Bruce Spizer, Tom Frangione, Janet Davis, and many more) to answer in-depth questions about the songs’ lyrics, instrumentation, and public reception. Now, as we move into 2022, the Fest for Beatles Fans blog is thrilled to be able to work with long-time friend of the Fest Scott Freiman. Scott is a noted speaker, the consulting editor for All the Songs: The Story Behind Every Beatles Release, and the creator of Deconstructing The Beatles, and he’s here this month to share insights with us. Scott joins Jude Southerland Kessler, author of The John Lennon Series, for a close examination of Paul McCartney’s “I’m Looking Through You.”

 

 

What’s Standard:

 

Dates Recorded:

 

24 October 1965: An acoustic version of the song, employing acoustic and electric guitars, bongos, maraca, wood blocks, organ, and hand claps; in this version, there was no middle eight. The song played out with vocal improvisation, or as John Winn phrases it in Way Beyond Compare, “the song stumble[s] to a halt past the point where it would normally fade.” (p. 368) This was a slower and more “mournful” sounding version of the song. In The Beatles Recording Sessions, Mark Lewisohn comments that this version of the song featured “great, great vocals.” He goes on to say, “To this writer it sounds superb, just as good as the re-remake.” You can hear this version of “I’m Looking Through You” on Anthology 2.

 

6 November 1965: A second more upbeat version was recorded. This version was closer to the version that was adopted for Rubber Soul. However, Lewisohn tells us that this version was considered by The Beatles to be “perhaps a little too fast and frenetic.” (The Beatles Recording Sessions, 67)

 

10 November 1965: Once again, the boys attempted to record the song, and this time, all were pleased with the rhythm track, selecting Take 4 as “best.”

 

11 November 1965: At the end of a 13-hour day, which Lewisohn refers to as “a marathon day” and John C. Winn calls “the penultimate session for Rubber Soul,” The Beatles superimposed the vocals for “I’m Looking Through You” as the very last effort in their heroic and tireless work on the LP. This was the final task on the final day of recording.

 

Studio: EMI Studios, Studio 2

 

Tech Team

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Ken Scott

 

Instrumentation and Musicians for 10 November Version (LP Version)

 

Paul McCartney, the composer, sings lead vocal, plays bass on his 1964 Rickenbacker 4001S, piano, and possibly, lead guitar on his Epiphone Casino (Margotin and Guesdon).

John Lennon sings backing vocals. Some sources merely state that John also plays “rhythm guitar.” Other sources do not have him playing guitar at all on this song, but have John manning the tambourine.

George Harrison plays lead guitar on his 1962 Gibson J-169E. Some sources have George playing the tambourine.

Ringo Starr plays one of his Ludwig Oyster Black Pearl Super Classic drum sets, plays either the Hammond organ (as some sources state) or the 1965 Vox Continental 300 Organ (as other sources state). And, as Jerry Hammack tells us in The Beatles Recording Reference Manual, Vol. 2, Ringo also provides “matchbox percussion.” More about that in “What’s Changed.”

 

Sources: Lewisohn, The Complete Beatles Chronicle, 203 and 205, and, Lewisohn, The Recording Sessions, 65, 67, and 68, Margotin and Guesdon, All the Songs, 300-301, Winn, Way Beyond Compare, 368 and 375, Hammack, The Beatles Recording Reference Manual, Vol. 2, 81-83, Turner, A Hard Day’s Write, 96, MacDonald, Revolution in the Head, 140, Spizer, The Beatles for Sale on Parlophone Records, 202-203, Harry, The Ultimate Beatles Encyclopedia, 324, and Babiuk, Beatles Gear, 191. Interestingly, Paul does not discuss “I’m Looking Through You” in his Paul McCartney, The Lyrics compendium.

 

What’s Changed:

 

  1. An increasingly embittered attitude towards Jane Asher – As Steve Turner points out in A Hard Day’s Write: The Stories Behind Every Beatles’ Song, “This was Paul’s most bitter song so far…Paul accuses his woman of changing and holds out the thinly-veiled threat of withdrawing his affection. Love has a habit, he warns, of disappearing overnight.” (p. 96) Paul had sung many songs to Jane about what he considered to be her failure to commit to him. In 1965, she took an acting job in the famous Old Vic Theatre in Bristol and was gone for quite some time. In response, Paul wrote three songs that urged Jane to “try to see it my way.” They were “You Won’t See Me,” “We Can Work It Out,” and “I’m Looking Through You” in which Paul repeatedly asserts, “You’ve changed, you’ve changed, you’ve changed.”

 

Years later, when asked about “I’m Looking Through You,” Paul commented, “This one I remember particularly as being disillusioned over her commitment.” He went on to say, “I was seeing through her façade. And realizing it wasn’t quite all it seemed.” (Margotin and Guesdon, All the Songs, 300) With each lyrical appeal to Jane, Paul became less tolerant. Bill Harry quotes Paul as stating, “I knew I was selfish. It caused a few rows. Jane went off to Bristol to act. I said, ‘OK then, leave, I’ll find someone else.'” (Harry, The Ultimate Beatles Encyclopedia, 324) And certainly, in both “You Won’t See Me” and “I’m Looking Through You,” Paul is drawing a line in the sand and stating quite clearly that Jane must choose either her acting career or her relationship with him…or else.

 

In earlier Fest Blogs (see “Drive My Car” with Ken Womack), we’ve discussed the fact that The Beatles’ attitude toward women was changing in late 1965. No longer were women considered adored and adorable…and placed upon pedestals as they were in “I Want to Hold Your Hand” or “I Need You.” Many of the females on the Rubber Soul LP are unkind (as in “Girl”), strong and powerful (as in “Norwegian Wood”), hardline, aspiring go-getters (as in “Drive My Car”) or simply non-compliant, as we see in this song. No innocent “moon-June-croon-spoon” love songs these! On Rubber Soul, relationships have become complex and difficult to maneuver.

 

  1. Unique Percussion Instrument – Rubber Soul is replete with never-before-considered instrument choices by the lads. But the percussion instrument employed by Ringo in “I’m Looking Through You” is truly one-of-a-kind! In 1996, Ringo explained to Andy Babiuk, author of Beatles Gear, that in this song alone, he added a special effect “by tapping on a pack of matches with his finger!” (Beatles Gear, p. 191) Additionally, Ringo was asked to supply a bit of percussion at the end of each verse of “I’m Looking Through You” by playing a chord on the organ.

 

A Fresh New Look:

 

Recently, we sat down with noted Beatles expert, nationwide lecturer, consultant, and creator of Deconstructing The Beatles, Scott Freiman, to chat about “I’m Looking Through You,” a song Paul does not discuss in Lyrics. Scott is a guru of Beatles music, and this is what he had to say:

 

Jude Southerland Kessler: Welcome to the Fest for Beatles Fans Blog, Scott. We’re honored to have you with us! You know, as we’ve already discussed, “I’m Looking Through You,” written for Jane Asher, seems to focus on the self-same theme as “You Won’t See Me,” “The Night Before,” “Tell Me What You See,” and “We Can Work It Out.” In fact, that’s why we named this blog, “’I’m Looking Through You’ …Again!” Do you see Paul as becoming more or less hopeful that the relationship can work out successfully, and does he present his case any differently in this November 1965 creation?

 

Scott Freiman: I think this is one of the most direct songs Paul wrote about where his relationship stood with Jane, and also one of the nastiest. “You don’t look different, but you have changed.” “Love has a nasty habit of disappearing overnight.” “I’m looking through you, and you’re nowhere.” There doesn’t seem to be any effort at reconciliation as in “We Can Work It Out” or “The Night Before.” Together with “You Won’t See Me,” this does not bode well for his relationship with Jane!

 

Kessler: As you know, our Fest Family loves “Beatles intricacies.” Tell us about the very interesting musical anomalies that you point out to listeners of “I’m Looking Through You” in the book All the Songs: The Story Behind Every Beatles Release.

 

Freiman: There are a couple of minor mistakes, such as the feedback that occurs around 1:18 (after Paul sings “above me”) and some stray guitar notes around 1:53 (probably from a previous solo that wasn’t completely erased). If you listen closely, you will also hear a few missed handclaps and stray tambourine hits.

However, there is one pretty big difference between the UK and US recordings. There was a false start that began the final version of the song that the folks at Capitol thought was part of the recording. So, the US version of “I’m Looking Through You” begins with the false start, adding an extra six seconds to the song. Not the most exciting six seconds, mind you!

 

Kessler: You know, to my ear, that “false start” sounds a bit like the intro to The Traveling Wilbury’s “End of the Line.” But that’s neither here nor there.

Scott, please take us through the evolution of “I’m Looking Through You” from the original 24 October version to the final 10-11 November 1965 version that appeared on Rubber Soul.

 

Freiman: Sure. The first version of the song was recorded on October 24. It took about nine hours. This is the version that is on the Anthology 2 album. It is slower with a different rhythm, and it’s missing the bridge: “Why, tell me why did you not treat me right? / Love has a nasty habit of disappearing overnight.” It also has a classical guitar (played by George), bongos (played by Ringo), and hand clapping. The initial take also included an electric blues jam at the end.

 

The Beatles began a new version of the song on 6 November, but that version was also not used.

 

The final version, Take 4, was recorded on 10 November. It featured, as we’ve already noted, Ringo playing a matchbox with his finger! The Beatles added overdubs, including George playing the tambourine and the guitar solo. Yet, the biggest addition was by Ringo. He played two dissonant chords on the organ for a few measures at the end of each verse.

 

It was 7 AM on the next day, 11 November, when Paul and John overdubbed their vocals, and Paul double-tracked his bass. It was the final recording session for Rubber Soul.

 

Both mono and stereo versions of the song would be mixed four days later on November 15.

 

Kessler: And this is really a follow-up question to the one above, Scott. But the genesis of “I’m Looking Through You” reminds me, a bit, of the metamorphosis that John’s ballad “Help!” went through as “Help!” was retooled to be palatable for the film’s opening, title song. Do you prefer the up-tempo version of “I’m Looking Through You” or its original version that we hear on Anthology 2? And why?

 

Freiman: I think the earlier version is very interesting, but I definitely prefer the version that ended up on Rubber Soul. It’s tighter, more upbeat, and has a better bridge. Plus, I love to hear Ringo slightly out of his element. Only the Beatles would have their drummer play organ and a matchbox!

 

Kessler: And oddly enough, I prefer the 24 October version. To me, on that slower and less upbeat rendition, Paul sounds truly sad and sincere. On the later November take, he comes across as more vitriolic. But my favorite part of the 24 October version is the “old rock’n’roll” flavor of the song. I know The Beatles wanted to use a more current, mid-Sixties vibe, and the 10-11 November version definitely leans “pop” rather than rock’n’roll, but the guitar lead break in the 24 October version is incredible! Different strokes for different folks, right! That’s why everyone has a favorite Beatle and a different favorite song!

Well, Scott thank you for taking time to be with us for this new glance at “I’m Looking Through You.” You are an extremely busy writer, consultant, and speaker. We appreciate the gift of your time…and we sooo hope to see you in person April 1-3 for The Fest for Beatles Fans in Jersey City, New Jersey! God willing, we will all be there!

 

To learn more about Scott Freiman and Deconstructing The Beatles or to book
Scott to speak at your conference or event, HEAD HERE

 

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Rubber Soul Deep Dive Part 9: Girl

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Side Two, Track Two

“Ah, Girl!!!”

 

by Jude Southerland Kessler and Robert Rodriguez

 

Throughout 2021, the Fest for Beatles Fans blog has been exploring the intricacies of The Beatles’ transitional 1965 LP, Rubber Soul. This month, our Fest friend Robert Rodriguez, award-winning author of Revolver: How The Beatles Reimagined Rock’n’Roll and Solo in the 70s: John, Paul, George, and Ringo (1970-1980), as well as distinguished podcast host of “Something About The Beatles,” joins Jude Southerland Kessler, author of The John Lennon Series, for a fresh, new look at the exciting second track of Side Two of this remarkable LP.

 

What’s Standard:

 

Date Recorded: 11 November 1965

Time Recorded: 6 p.m. – 7 a.m. (Work was also done on “You Won’t See Me,” “Wait,” and “I’m Looking Through You”)

Studio: EMI Studios, Studio 2

 

Tech Team:

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Some sources say Mike Stone. Some say Ken Scott.

Stats: Recorded in only two takes. “Best” take was Take 2. However, three superimpositions were needed to complete the song. One for Lennon’s lead, one for backing vocals by Paul and George, and the last for George’s concluding solo.

 

Instrumentation and Musicians:

John Lennon, the composer, sings lead vocal and plays his 1964 Gibson J-160E acoustic guitar

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

George Harrison sings backing vocals and plays lead in superimposition #3 on his 12-string Framus Hootenanny 5/024

Ringo Starr plays one of his Ludwig Oyster Black Pearl Super Classic drum sets in studio.

Thanks to Jerry Hammack and his superb The Beatles Recording Reference Manual, Vol. 2, for this information.

 

Sources: Lewisohn, The Complete Beatles Chronicle, 205-206, Lewisohn, The Recording Sessions, 68, Womack, Long and Winding Roads: The Emerging Artistry of The Beatles, 121-122, Margotin and Guesdon, All the Songs, 298-299, Winn, Way Beyond Compare, 375-376, Hammack, The Beatles Recording Reference Manual, Vol. 2, 96-97, Turner, A Hard Day’s Write, 95, Riley, Tell Me Why, 164-165, Spizer, The Beatles for Sale on Parlophone Records, 202, Everett, The Beatles as Musicians: The Quarry Men to Rubber Soul, 310-311, Miles, Paul McCartney: Many Years From Now, 119-120,  and MacDonald, The Beatles: Revolution in the Head, 145.

 

What’s Changed:

 

  1. The introduction of Viennese mandolin and Greek bouzouki sounds as experimentation in The Beatles’ catalogue soars – “Girl” sounded unlike any other Beatles song that fans had ever encountered. John’s high-capo-ed guitar was exotic and was described by MacDonald in The Beatles: Revolution in the Head as very much like the Viennese mandolins that John must have heard on Hamburg radio stations in the first few visits to the German port city. (p. 145) That backing, coupled with George’s unique concluding solo, edged “Girl” as far from the traditional Mersey Beat sound as any Beatles creation had ever dared…thus far.

 

George Harrison’s striking concluding lead left experts guessing about its creation for years. Early accounts of the 11 November recording session had Harrison playing a Greek instrument, the bouzouki. Even George Martin, at one point, said that he remembered Harrison performing the song’s concluding solo on that instrument. (Spizer, 202) Later, however, Paul McCartney just as adamantly averred that he recalled Harrison using his guitar with the capo placed very high on the neck to produce the unusual and tinny bouzouki sound. Barry Miles quotes Paul as stating, “We did it on acoustic guitars, not bouzoukis.” (Paul McCartney: Many Years From Now, 119-120) Whatever the methodology, the effect was (and is) singular and enchanting.

 

As Kenneth Womack observed in Long and Winding Roads: The Emerging Artistry of The Beatles, “Simulating a bouzouki-like sound on his Hootenanny, George play[ed] an intricate Greek melody that afford[ed] the track…an Old World resonance.” (p. 122) Rubber Soul had already introduced the sound of the sitar in “Norwegian Wood.” Now, the tone and cadence of another little-known instrument was introduced to listeners by the adventurous Beatles. As the boys moved decidedly away from the “pop” sound that was their staple as late as early 1965, the inclusion of innovative, world music was rapidly becoming John, Paul, George, and Ringo’s “new normal.” (See the chart entitled “Population of The Beatles Early and Experimental Style Features” in Dr. Walter Everett’s The Beatles as Musicians, The Quarry Men to Rubber Soul, p. 311. Also, please read Dr. Everett’s list of instruments that were in the studio during the Rubber Soul sessions on p. 310. The leap into experimentation is dramatic with the advent of Rubber Soul and enhanced with Revolver).

 

  1. A penchant toward more acoustic flavors on this LP – The original recording of “Girl” included George Harrison performing on an electric guitar with fuzz distortion. This rendition was removed as the acoustic sound became Lennon’s preferred medium. With extraordinary songs such as “Michelle,” “Norwegian Wood,” “Nowhere Man,” and “In My Life” populating this LP, The Beatles begin to venture away from the merry “tea-cup rattling” of “She Loves You” and “I Want To Hold Your Hand.” In 1966, Revolver would take them even further from the sounds of the early 60s. Rubber Soul gives us “an early clue to the new direction.”

 

  1. A tad of naughtiness in a song of desire – John Lennon’s very intimate inhalation (created, George Martin explained, by a special compressor used on Lennon’s voice) wasn’t the only bit of sexy innuendo in this second track on Side Two. Paul and George covertly (they thought) sang “tit-tit-tit-tit” to John’s passionate sigh of “Ah, Girrrrrl!” When George Martin questioned them about the phrase, so the story goes, they claimed to be singing “dit-dit-dit,” but Martin stated that he knew what they were saying. He shrugged and let it pass.

 

Now, for a “fresh new look” at “Girl,” we turn to author Robert Rodriguez, who invented the Fab Four FAQ series, recently hosted the very successful online conference Fab4ConJam, served as “Featured Author” at Beatles at the Ridge, and has been a beloved Special Guest Speaker at The Fest for Beatles Fans for years. Jude Southerland Kessler recently sat down with Rodriguez to discuss Lennon’s innovative and personal composition, “Girl.”

 

Jude Southerland Kessler: Robert, it’s a joy to get to work with the remarkable author who opened my eyes to the real significance and importance of Revolver via your incredible book Revolver: How The Beatles Reimagined Rock’n’Roll. That book completely changed my whole perspective on the LP…for the better. It’s a book everyone should read!

 

But our focus today is on Revolver’s predecessor, Rubber Soul, and specifically on the track, “Girl.” So let me ask you, early on, many listeners assumed that the “sizzle-sound” following John’s intonation of the word, “Girl!” was the sound of a cymbal. Of course, now we know it’s the sound of John’s audible inhale. Tell our readers, if you would, what Norman Smith did to create that vocal effect: the sound of ecstasy.

 

Robert Rodriguez: For the second time during the production of Rubber Soul, The Beatles requested an unusual manipulation of the EQ to distort the sound; again – as they had with the guitars on “Nowhere Man” – boost the treble up high, creating a sound from John’s intake of air that nearly matched the sound of Ringo’s brushed cymbal work. It is entirely likely that they were simply looking for a cool new sound to add to the track to give it an air of distinction and weren’t going for a particular evocation. However, given that this was the “pot” album, as compared to Revolver, the “acid” album, it would be naive to ignore the possibility of the effect as emulating taking a hit on a joint. The Beatles loved to sneak little inside jokes into their recordings, and in the case of “Girl,” this naughty touch alongside the backing vocal part on the bridge would’ve doubled their (guilty) pleasure.

 

Kessler: “Girl” is a quite sophisticated song, musically. Naturally, the usual intricate Beatles harmonies are in play, but so much more is at work. Tel us about some of the instruments that are used to create an exotic sound.

 

Rodriguez: As was often the case throughout the Rubber Soul sessions, The Beatles and their producer – though squeezed for time to write and record the album by deadline – would experiment with ideas to broaden their sonic palette. To their credit, simply having an idea didn’t justify using it; it had to be a good idea to make the final cut, and The Beatles’ recordings are evidence enough of the superb quality control standards they adhered to. Perhaps the ultimate example of this is “12-Bar Original” – a recording that they took seriously enough to spend precious studio time on, rehearsing and tracking a pair of takes before abandoning the experiment as an unremarkable failure.

“Girl” provides a further example of this thinking, in that we now know that though the final released performance features acoustic instrumentation (excepting Paul’s bass), a fuzz-distorted Harrison electric was tried out, but ultimately rejected. (A similar idea was tried out four years later for “Here Comes The Sun” and thankfully shelved). Maybe it was because they came up with a better idea: a sound that has been described by writers who should know better as a Greek bouzouki — an exotic stringed instrument not typically heard much on pop records.

 

But while the origins of the sound may be Greek-inspired (Paul has said as much), it was actually performed by George on his Framus Hootenanny 12-string guitar. The attack of his picking the strings is sharper than usual, giving a staccato effect (with no ringing out), suggesting an austere sonic tone that matches the lyric describing the title character’s early Christianity teachings: that heaven was for those who suffered deprivation. It’s a brilliant touch that we as listeners can come up with any number of creative suggestions for what the intent behind it was, when – per Occam’s Razor – it was probably nothing more profound than a pleasing sound that was fresh at the time.

 

Kessler: Cynthia Lennon once said that this song was about her. In April 1995’s Q magazine, she said, “The only song that I thought might be something to do with me was ‘Girl,’ but of course John isn’t here to say anymore.” However, when asked about “Girl” during his life, John claimed that the song was about an ideal girl (although this girl is far from ideal in many ways), a girl who turned out to be Yoko. Once, he stated that the description of the girl in the bridge referred to the Christian church. What’s your take on the identity of this “Girl”?

 

Rodriguez: Honestly, I find it difficult to understand why any woman would choose to identify with the character described in this song: she’s punishing and apparently warped by early years of religious education. But someone better qualified in psychoanalysis than I can probably provide a more satisfactory answer as to why John identified the character in this song as a “dream girl,” though technically nightmares are dreams, too. As described, the decision to keep this woman around (though he characterizes the choice as hers: “the girl who came to stay”) comes with ambiguity: he’s clear-headed enough to recognize his desire for her as something punitive (“…makes you sorry”), yet he is without regrets. That alone suggests a desire to be punished, which aligns nicely with her own worldview, shaped by the church, that states “pain will lead to pleasure.” Thus, John is describing a situation where he accepts day-to-day unhappiness and being made to feel a fool by her (and in front of his friends, no less) by a woman incapable of graciously accepting a compliment, all for the sake of a future reward, in this world or the next. John’s describing the “girl” he sings about as someone who “turned out to be Yoko” may be more revealing than he intended; he might inadvertently be indicating difficulties in a seemingly faultless relationship.

 

Kessler: Margotin and Guesdon claim that John waited 15 years to write the sequel to “Girl,” and that song was “Woman.” Robert, do you agree or disagree with this assessment and why?

 

Rodriguez: For something to be a “sequel,” it has to acknowledge its antecedent and either build upon it or deviate from it, does it not? I think Lennon was trying to come up with a compelling connection between the two songs, but I don’t hear it. Between the two, I hear “Girl” as the much more compelling composition: in addition to everything else it offers as a performance and as a recording, the lyrical ambivalence is a marvel to behold. There is much to unpack in its mixed signals – someone unpleasant and difficult as an ideal – and yet remaining the object of profound desire.

 

“Woman,” in contrast, is – to my ears anyway – much more facile and shallow, while seemingly striving for the perception of depth. (The opening remark about the other half of the sky sounds profound, without actually saying much of anything). The narrator in “Woman” gushes on and on about the debt of gratitude owed (“…for showing me the meaning of success” – was this a comment on Yoko’s financial acumen, handling their business affairs?) while lamenting his own ingratitude and thoughtlessness. The song takes on the air of a religious hymn, with offers of praise and loads of “I’m not worthy.” As such, it’s hard for me personally to enjoy to any great depth, or to see as anything more weighty than his myriad other mea culpa songs (“Jealous Guy,” “Aisumasen,” “Forgive Me (My Little Flower Princess),” etc).

 

By the end of his life, in the promotion of Double Fantasy, John projected an air of having figured life out: his relationship with Yoko as being some kind of summit of both ideal romantic love and a wholly-encompassing creative partnership. To me, it rings hollow, especially when contrasted with his former songwriting partner, who made the same point about his own life partner without loudly banging on about it; instead, providing an example that was as interactive with the world as John and Yoko’s was sealed off from it. Contrast this with the 25-year-old Beatle who, throughout Rubber Soul, describes deep social connections (“In My Life,” “The Word”) and his place in society (“Nowhere Man”), as well as a series of women who are apparently self-sufficient (“Girl,” “Norwegian Wood”) that he connects with. Personally, I know which artist I find more interesting.

 

To learn more about Robert Rodriguez, HEAD HERE

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To hear Robert’s podcast, “Something About The Beatles,” HEAD HERE

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Rubber Soul Deep Dive Part 7: Michelle

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Here we go, Fest Family, with our seventh “deep dive” of 2021 into The Beatles’ exceptional LP, Rubber Soul. I was thrilled to tackle this classic ballad with Jerry Hammack, respected author of The Beatles Recording Reference Manuals. As an expert on precisely what transpired in EMI Studios, Jerry has a unique perspective on this song. (You’ll be especially interested in his comments on the song’s lead line!) He gives us an opportunity to examine “Michelle” with a fresh, new look even though it’s a beloved song that we’ve cherished for 56 years.

 

What’s Standard:

 

Date Recorded: 3 November 1965

Time Recorded: 2:30 – 11:30 p.m.

Studio: EMI Studios, Studio 2

 

Tech Team

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Ken Scott

 

Jerry Boys dropped in on the recording session but didn’t work on the session. (Lewisohn, The Beatles Recording Sessions, 67) Richard Lush and Jerry Boys did tape on the mixing sessions.

 

Stats: To quote Jerry Hammack, “One take was all that was required to perfect the backing track.” (Vol. 2, p. 84) Of course, superimpositions would follow.

 

Instrumentation and Musicians:

 

Paul McCartney, co-composer (Paul wrote the verses for this song from a “parody” song he had performed whilst at the Liverpool institute.) He sings lead vocals, plays bass on his 1964 Rickenbacker 4001S, plays acoustic guitar on his 1964 EpiphoneFT-79N and possibly, also supplies the lead guitar solo on his 1962 Epiphone ES-230TD. (Hammack, The Beatles Recording Reference Manual, Vol. 2: Help Through Revolver, 84)

 

John Lennon, co-composer (John devised the concept for this song from an old college tune he’d heard Paul perform, and he wrote the song’s middle eight.) John sings backing vocals.

 

George Harrison sings backing vocals. (Some sources attribute the lead line to George Harrison. Other sources attribute the rhythm line to George Harrison)

 

Ringo Starr plays drums on one of his Ludwig Oyster Black Pearl “Super Classic” drum sets. (Hammack, 84)

 

Sources: Lewisohn, The Complete Beatles Chronicle, 204-205, Lewisohn, The Recording Sessions, 67, Margotin and Guesdon, All the Songs, 292-294, Winn, Way Beyond Compare, 372, Hammack, The Beatles Recording Reference Manual, Vol. 2: Help Through Revolver, 84-85 and 250-253, Turner, A Hard Day’s Write, 94, Riley, Tell Me Why, 162-163, Spizer, The Beatles for Sale on Parlophone Records, 202, Spignesi and Lewis, The 100 Best Beatles Songs, 237-239, Miles, Paul McCartney: Many Years From Now, 273-275 , MacDonald, Revolution in the Head, 140-141, and Everett, The Beatles as Musicians: The Quarry Men through Rubber Soul, 324-328.

 

What’s Changed:

 

  1. Lennon/McCartney provide the second “true collaboration” on this LP — When The Beatles were searching for a few songs to fill out their Rubber Soul retinue, John recalled a piece that Paul had performed during their college days — a song that parodied the French existential artistes, such as Sacha Distel and Juliette Greco. He told Paul, “D’you remember the French thing you used to do at…parties?…Well, that’s a good tune. You should do something with that.” (Miles, Paul McCartney: Many Years From Now, 273) John encouraged Paul to “dust off” the clever, tongue-in-cheek ditty and rework it for the LP.

 

As Paul began to re-shape the college piece into a ballad, John composed a touching middle eight that was derivative of love letters he had written to Cynthia during their college romance. In Ray Coleman’s book, Lennon, you can see one such letter on pp. 104-105. The “I love you, I love you, I love you/that’s all I want to say” line is almost a direct quote from John’s early impassioned Christmas card to the girl he adored. He also suggested to Paul that the emphasis should fall on the word, “love.” (Turner, A Hard Day’s Write, 94) Years later, in the Playboy Interviews with David Sheff, John states that the middle eight was also influenced by Nina Simone’s “I Put a Spell on You,” but clearly, John had been penning lines such as these to Cynthia in the late 1950s.

 

Very much like “We Can Work It Out” in which Paul wrote the verses and John composed the middle eight — adding what John called “a bluesy edge” to this song — (Everett, The Beatles as Musicians, The Quarry Men through Rubber Soul, 326) “Michelle” is a true collaborative effort.

 

  1. “Reunion” with Ivy Vaughn — All of us know that Ivan “Ivy” Vaughn brought Paul to the Woolton Garden Fête in 1957 to hear the Quarry Men perform and to meet the group’s founder and leader, John Lennon. Ivy’s role in The Beatles’ legend looms large! But he or rather his wife Jan, a French teacher, also figured into the creation of “Michelle.” Not being fluent in French and wanting to keep the song’s female character a mysterious French femme fatale, Paul rang the Vaughns, seeking Jan’s help. He wanted a pet phrase that rhymed with “Michelle” (to which Jan supplied “ma belle”) and approving of that, he asked her, “What’s French for ‘These are words that go together well?” Of course, we all know Jan’s response was: “Sont des mots qui vont tres bien ensemble.” And voila! Once again, the Vaughn family had claimed a significant role in Beatles’ history. (Miles, Many Years From Now, 273-275)

 

  1. A brilliant study in contrasts — Probably unintentionally, in “Michelle,” The Beatles gave us a study in contrasts: English boy/French girl, electric instruments/acoustic instruments, major chords/minor chords. And interestingly, Stephen Spignesi points out that although this is a highly emotional song, “Paul’s vocal is restrained and (dare I say it) somewhat unemotional.” (The 100 Best Beatles Songs, 239) This balance of opposites makes the ballad unique. As Spignesi observes, “Throughout the song, there is a sense of discretion. In a word, ‘Michelle’ is subtle. As it should be.” (p. 239)

 

 

A Fresh New Look:

 

Recently, Fest Blogger Jude Southerland Kessler, author of The John Lennon Series, visited with author, Jerry Hammack about some of the finer points of Lennon/McCartney’s “Michelle.” Hammack’s The Beatles Recording Reference, Vol. 2: Help Through Revolver (1965-1966) — researched meticulously for over a decade — provides even more detailed information about this fan favorite. As an experienced Canadian-American musician, producer, and recording and mix engineer, Jerry Hammack has insights into this song that many of us would miss. Be sure to attend his presentations at The Fest, where he always a sought-after guest speaker!

 

  1. Jerry, one of the most interesting aspects of your analysis of this song in The Beatles Recording Reference Manual, Vol. 2: Help! through Revolver (1965-1966) is your strong thesis that Paul (not George Harrison) performed the exquisite lead solo in “Michelle.” Please tell us about the evidence you’ve amassed that supports this theory.

 

There are multiple aspects of the solo part supporting the conclusion that Paul was responsible for this work on the song. The playing style of the part bears no resemblance to any of Harrison’s playing during this period, while it has great similarity to Paul’s bass work. The solo is played entirely in the mid-range of the guitar, much like a jazz-style bass solo would be played. Photographic evidence from sessions during this period show Paul’s Epiphone guitar leaning against the Bassman amplifier, and the muted sound of the part would be consistent with the frequency characteristics of that amplifier as set up for bass playing, as well as the AKG D20 commonly used to mic that cabinet.

 

But the primary evidence is the tape log, which accounts for an original tape and a tape reduction remix on a second reel.

 

The performances for the song’s arrangement are few – two acoustic guitars, bass, lead guitar, lead vocal and backing vocals. After the backing track of acoustic guitar, lead vocal and drums was completed, Paul superimposed bass and lead guitar onto the song, each onto their own track. The tape-to-tape reduction then made room for his final acoustic guitar (doubling parts of the original performance) and backing vocals by John, Paul and George.

 

If George had played the solo, there would have been no need for a tape reduction remix. The four-track could have supported all the performances that make up the track without it. The only reason to put the bass and solo on separate tracks is because one person can’t play both at the same time. That person is Paul.

 

  1. Jerry, in the “What’s New” section, I talked briefly about the use of contrasts in this song. And one of those contrasts is the juxtaposition of major and minor chords. For those of us who aren’t music experts, please tell us a bit about the clever way in which those major and minor chords are artfully employed in “Michelle.”

 

Not that I’m a music expert myself…As Walter Everett notes, the song is mixed modally between F-major and F-minor, which is pretty sophisticated for a pop song. Paul even manages to throw in a few diminished, major and minor 7ths and 9ths. McCartney is believed to have drawn on influences as far ranging as French artists Sacha Distel and Juliette Greco for his inspiration, and perhaps, more practically, from lessons he learned in songs like “Bésame Mucho” that also play with major/minor inversions.

 

  1. You point out in your Beatles Recording Reference Manual, Vol. 2 that “Michelle was the first track to feature bass as a superimposition.” Why is it so important that the bass be given its own track in this song and in many Beatles songs to follow (especially the tracks on Sgt. Pepper)?

 

The reason the bass was given its own track in “Michelle” was a practical one as I’ve noted earlier, but the benefit of recording it on its own is in control over the tone and volume level of the instrument when it came to creating a mix — in this case, a reduction mix. If it had been recorded with another instrument like a guitar, the volume relationships would already be fixed, and tonal decisions when it came to mixing would have to be balanced out. (A reduction mix is similar to a final mix.) Too much bass on a guitar signal and the guitar sounds muddy and thick – too much treble on a bass signal and it sounds thin.

The lessons learned with the control gained on the bass signal through the recording of “Michelle” didn’t necessarily alter the approach to bass recording overall, but the approach was called upon again in the Pepper era and whenever the sound that Paul wanted from the bass was more up-front and unique.

 

  1. As we discussed in the “What We Know” section, “Michelle” was rather hastily assembled in the autumn of 1965, and it was, originally, a wry spoof of French beatnik singers from Paul’s Liverpool Institute days. And yet, this song emerges as anything but a lighthearted caricature. In fact, “Michelle” won the Grammy Award for “Song of the Year” in 1966. What makes this composition so brilliant?

 

For myself, what makes the song so brilliant is that quality of complexity disguised as simplicity. The Beatles make the song sound almost effortless, natural, like it always existed, and they just happen to be playing it for us. As with the best actors, the effort is hidden; the impression is that of ease. There’s nothing about “Michelle” that isn’t sophisticated (and some cover versions fail by how painfully obvious they display the fact), but The Beatles flow through the track like a river that knows where it’s going. It’s just so naturally performed. Hiding behind that perception of ease is a beautifully complex song, adding a whole other level to the experience. The more you know about what The Beatles pulled off with “Michelle”, the more you enjoy it.

 

For more information on Jerry Hammack’s The Beatles Recording Reference Manuals, head here

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Rubber Soul Deep Dive Part 6: The Word

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Side One, Track Six

 

They Said “The Word,” and They Were Free

 

by Jude Southerland Kessler and Sara Schmidt

 

The Fest for Beatles Fans blog continues to mine the riches of The Beatles’ brilliant 1965 LP, Rubber Soul. This month, Sara Schmidt, author of Happiness is Seeing the Beatles: Beatlemania in St. Louis and the up-coming study of the North American Beatles Fan Clubs, Dear Beatle People (to be released, August 2021) joins Jude Southerland Kessler, author of The John Lennon Series, for a fresh, new look at a landmark song on this LP, a song considered to be a turning point for The Beatles: “The Word.”

 

What’s Standard:

 

Date Recorded: 10 November 1965

Time Recorded: 9.00 p.m. – 4.00 a.m.

Studio: EMI Studios, Studio 2

 

Tech Team

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Ken Scott (and Richard Lush, according to Margotin and Guesdon, All the Songs, p. 290)

Stats: Recorded in only three takes. However, myriad superimpositions were needed to complete this song.

 

Instrumentation and Musicians:

 

John Lennon, the primary composer,[1] sings lead vocal (double-tracked) and plays rhythm guitar on his 1961 Fender Stratocaster with synchronized tremolo. Some sources credit John with playing the maracas.

Paul McCartney, the secondary composer, sings backing vocals (double-tracked) and plays a superb “Motown bass” on his 1964 Rickenbacker 4001S through his Fender Bassman 6G6-A amp. (Hammack, The Beatles Recording Reference Manual, p. 92) Paul also plays piano, using EMI’s Steinway “Model B” Grand Piano.

George Harrison sings backing vocals (double-tracked). Most sources say George played lead guitar in superimposition.

Ringo Starr plays drums on one of his Ludwig Oyster Black Pearl “Super Classic” drum kits. Some sources say Ringo (and not John) plays the maracas.

George Martin, the producer, plays the studio’s Mannborg harmonium (Hammack, The Beatles Recording Reference Manual, p. 92.)

 

Sources: The Beatles, The Anthology, 194, Lewisohn, The Complete Beatles Chronicle, 205, Lewisohn, The Recording Sessions, 68, Margotin and Guesdon, All the Songs, 290-291, Winn, Way Beyond Compare, 375, Hammack, The Beatles Recording Reference Manual, Vol 2, 92-93, Turner, A Hard Day’s Write, 93, Riley, Tell Me Why, 162-163, Spizer, The Beatles for Sale on Parlophone Records, 202, Babiuk, Beatles Gear, 169-171, and Miles, The Beatles Diary, Vol. 1, 217 and http://www.beatlesebooks.com/the-word

 

What’s Changed:

 

  1. Continued Innovative Practice of Late-Night Recording Sessions – Mark Lewisohn in The Complete Beatles Chronicle (p. 205) notes that although the recording session was slated for 9.00 p.m. to 3.00 a.m., The Beatles worked on until 4 a.m. before “calling it a night.” The Beatles were now in their “creative pocket,” as they had been in Hamburg and those early days in the Cavern Club. The “spark of midnight,” in which they performed best, was giving them the impetus to do their finest work.

 

  1. Assignment of the Bass to a Separate Track – When Paul McCartney recorded “Michelle” on 3 and 9 November, he insisted on recording his bass on a separate track. Here, once again, on “The Word,” Paul insists on running a strong bass line (in superimposition) on a separate track. Margotin and Guesdon note that this practice enabled Paul “to concentrate on his instrument, and he delivered a terrific part in a Motown bass style.” (All the Songs, 291) And John C. Winn in Way Beyond Compare says: “Paul was quickly learning that adding bass as an overdub allowed clearer sound as well as more creative lines.” (p. 375)

 

  1. Creation of the Message Song – No simple “moon-June-spoon” love song — this! “The Word” transitions from “eros” love (passionate, erotic love), which was the subject of the early songs such as “She Loves You,” “If I Fell,” “I Want to Hold Your Hand,” and so many others, to the more platonic “agape” love (unconditional love; traditionally, the love of God for man and man for God). As Mark Lewisohn observes in The Beatles Recording Sessions, “John Lennon’s ‘The Word’…was a prototype [for] ‘All You Need Is Love,’ two years ahead of that world anthem.” (p. 68) Not only was the music of The Beatles becoming more interesting and complex, but their lyrical themes were achieving maturity as well.

 

  1. Use of EMI’s Steinway Grand Piano – The tumbling piano intro to “The Word” and the jaunty piano line throughout the track give it a bright and hopeful quality. In Beatles Gear, Andy Babiuk reminds us that the sound we enjoy is elicited by Paul performing on EMI’s Steinway “Model B” Grand Piano. Babiuk tells us that “Steinway is one of the best-known and respected piano makers, founded in New York by German immigrants Henry Steinway and his brothers in 1853. Henry and Theodor Steinway together devised the design of the modern grand piano in 1860. Since then, many top concert halls and studios have chosen Steinway instruments — including Abbey Road.” (p. 171) Indeed, in “The Word,” the clear, luminous sound of the Steinway Grand heightens the upbeat, positive mood of the song.

 

  1. Attempt to Write a Song Based on a Single Note – Inspired by Chuck Berry’s “Long Tall Sally,” both John and Paul had long wanted to create their own song based on a single note. As Paul commented later, “We got very near it in ‘The Word.’” (Miles, The Beatles Diary, Vol. 1, 217) John revisits this exercise later in 1967’s “I Am the Walrus.” But here, as early as Autumn 1965, experimentation and deviation from the norm were already The Beatles’ creative watchwords. The Cavern Beatles were well on their way to becoming the studio Beatles.

 

A Fresh New Look:

 

This month, we’re thrilled to have Sara Schmidt with us to give us a fresh approach to this song we’ve known for 56 years. Sara and her mother, Coral Schmidt, who have been coming to the Fest for 19 years, are integral members of the Fest Family.

 

Sara has served as a part of the Historians Panel since its inception. And besides being the author of the sold-out work, Happiness is Seeing The Beatles: Beatlemania in St. Louis, Sara is also the creator of the esteemed website, https://www.meetthebeatlesforreal.com which introduces us to ordinary people who have actually encountered The Beatles. Sharing vetted stories and rare photos that are not well-known to the general public, these fans bring a new dimension to what we know about John, Paul, George, and Ringo. They talk about events not covered in other sources.

 

Sara is a five-time guest speaker at the Beatles at the Ridge festival in Arkansas, and she is a contributing author to A is for Apple, published by Apcor. Sara’s second book, unfolding the fascinating story of the North American Beatles Fan Clubs — Dear Beatles People — will be released in August of 2021. We’re excited to have her with us for this in-depth discussion of “The Word.”

 

  1. Sara, many Beatles music experts have called “The Word” the precursor to “All You Need is Love.” But in truth, there are several other Lennon compositions that seem to spring from this germinal 1965 song. How did “The Word” influence other great Lennon originals to follow?

 

The concept of love and being loved has been a theme throughout John’s musical career. Many of his songs written during The Beatles’ period and afterward were inspired by the greatest loves of his life: his first wife, Cynthia; his mother Julia; and his second wife, Yoko.

 

The B-side to John’s famous peace anthem, “Give Peace a Chance” is a haunting song sung by Yoko called “Remember Love.” Yoko wrote most of the lyrics, and John recorded this song with her during the Montreal Bed-In for peace. In this song, Yoko’s lyrics say, “love is what it takes to live.” This is exactly the message found in “The Word.”

 

During the silent vigil held in Central Park in New York City one week after John’s murder in 1980, there was a young girl seen sitting on the shoulders of a young man. This unknown girl was holding a sign high above her head that said, “Remember Love.” Her sign stood out among the crowd because it was a message that was always in John’s heart, and one he began singing about in “The Word.”

 

Much like Yoko’s song, “Remember Love,” John wrote the song simply titled “Love” in “the spirit of Love.” In “Love” he tells us that “Love is free” and in “The Word” he says to say the word “love,” and “you’ll be free.”  “The Word” is about love, in a broad sense, while “Love” is talking about the love between two people. However, in both songs, John is informing the listener about the important aspects of one of the most important things on earth: love.

 

Another song that follows this theme is 1973s “Mind Games.” It is in this song that John states: “Love is the answer.” In “The Word,” the concept of love is almost a question. What is this word that John is speaking of? He them informs us that the word is “love.” There is no questioning in “Mind Games.” Love is the answer, and John knows that for sure. As “Mind Games” fades out you can hear John singing, “I want you to make love, not war. I know you’ve heard it before.” The message of love is one that he had written about many times, and it all began on Rubber Soul with “The Word.”

 

In 1979, John made a demo of another song that he wrote called “Real Love.” In 1995, Paul McCartney, George Harrison, and Ringo Starr took that demo and made it into a brand-new song by The Beatles. In this song, John admits to having some confusion when it comes to love: “Thought I’d been in love before/but in my heart I wanted more.” He also shows some confusion about love in “The Word” when he writes “In the beginning I misunderstood/but now I got it the word is good.” In both songs, he comes to the conclusion, once again, that love is the ultimate answer.

 

  1. For John in particular, “The Word” foreshadows his work as a cultural leader, an activist for peace on the world stage. What “seeds” of his later life do you find already at work in this composition?

 

Many people consider John Lennon to be not just an activist for peace, but also an activist for love.  In the song “The Word,” he sings about how he wants to “show everybody the light” of love.  He continued to strive to show everybody that light throughout his life.

 

One way that he and Yoko Ono achieved this was via the “peace acorn” project in 1969. The couple sent 50 pairs of acorns to heads of state all around the globe, in hopes that they would plant them in a gesture of world peace.  Many of the leaders had never heard of John or Yoko, but still planted the acorns. The idea was that something very big can grow out of something very small. This was a gesture, rooted in peace and love, meant to show how a little bit of love can light up the entire world.

 

  1. The hand-written lyrics of this song are historically important because they play a role in the very first “meeting” of John and Yoko, pre-dating the Indica Gallery. Tell us about that auspicious occasion, please.

 

John and Paul got together after their 1965 North American tour and smoked some marijuana.  Then, they sat down and wrote “The Word,” which John had mostly composed. Usually, the songwriters wrote the lyrics to their songs on a sheet of whatever paper they would find around the house or hotel room they were writing. This time was different. For the first time, they wrote the lyrics on a multicolored sheet of paper.

 

Late in the summer of 1966, Yoko knocked on Paul’s door at 7 Cavendish Avenue in London. Paul had never met her before, but he let her in, because at that time he would frequently welcome strangers into his home. She was there because of avant garde composer, John Cage’s, upcoming birthday. Cage collected rare music manuscripts, and several of his artist friends wanted to give him original manuscripts from a variety of noted musicians as a special birthday present. Yoko was hoping that Paul would give her something that he had written to be included in the gift. Paul did not want to give away any of his work, because he had been keeping it for his own personal memories.  However, Paul told her that his friend, John might be willing to part with something, and he gave her John’s address in Kenwood.

 

History is ambiguous about what happened next. Most sources merely state that Yoko was given the original lyric sheet for “The Word,” on the multi-colored paper. We do not know if Yoko received the lyrics in person from John or whether she received them from NEMS at John’s request, but in some form or another, they communicated prior to their official meeting in November 1966. John Cage published the lyrics in the book Notations along with other manuscripts from modern musicians. In 1973, John Cage donated all of the manuscripts he owned to Northwestern University library.  That is where the manuscript for “The Word” remains today. Fans can see a high-quality facsimile of the original whenever the library is open.

 

  1. Sara, what draws you to this particular song? Why is “The Word” special to you?

 

“The Word” has always been one of my favorites from Rubber Soul. From those first beats, it is easy to tell that you are going to be listening to a song with a strong rhythm. The harmonies of John and Paul sound wonderful! Those things have always made me want to stop and take a closer listen to the message, more than I did with earlier Beatles songs.

 

“The Word” has some religious overtones in the lyrics. This is not surprising because it was written in the Autumn of 1965, the same time period in which Maureen Cleave conducted her famous interview with John. John was reading quite a bit about religion and Christianity during this time in his life. In fact, in Cleave’s article, she stated that John had recently purchased an “enormous Bible,” and it was one of the things he most fancied. He most likely read John 1:1 that says: “In the beginning was the Word…” To John that meant that in the beginning, there was love. As a Christian believer and a Beatles fan, this really resonates with me. Love has been a huge force in mankind from the beginning of time.

 

Ringo Starr said that “the basic message of The Beatles is love.” This is a big part of why I love The Beatles so much. One of the most important things we can do, especially right now after everything we’ve been through this past year, is to spread love to everyone we meet. It is time to look past the color of someone’s skin, who they love, how much they weigh, how much money they have, and who they voted for and to simply show love to one another. The Beatles sang about this very thing in the song “The Word.” This song is an uplifting and positive reminder that “The Word is good.”

 

There’s power in the words we say. We can change the course of someone’s day by a rude comment or even a rude message on social media. If we remember that “The Word is love,” and take that to heart, maybe we can use the words we say to uplift and spread love.

 

For more information on Sara Schmidt and her books, head here

 

 

[1] Not only does Beatles Guru Mark Lewisohn, in The Complete Beatles Chronicle, p. 205, refer to this song as “John’s song, ‘The Word,’” but John himself stated to David Sheff in The Playboy Interview with John Lennon and Yoko Ono, “‘The Word’ was written together [with Paul McCartney] but it’s mainly mine. You read the words, it’s all about gettin’ smart. It’s the marijuana period. It’s the love-and-peace thing. The word is ‘love,’ right?”

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Rubber Soul Deep Dive Part 5: Think For Yourself

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Side One, Track Four

 

Harrison’s Mantra: “Think for Yourself”

 

by Jude Southerland Kessler and Janet Davis

 

Through 2021, the Fest for Beatles Fans blog has been exploring the nooks and crannies in The Beatles’ remarkable 1965 LP, Rubber Soul. This month, Fest Historians Panel member and editorial staffer for the respected Beatles fanzine Octopus’ Garden, Janet Davis, joins Jude Southerland Kessler, author of The John Lennon Series, for a deep dive into one of George Harrison’s two original songs on the trend-setting album. Join them for an exploration of “Think for Yourself.”

 

What’s Standard:

 

Date Recorded: Monday, 8 November 1965

Time Recorded: 9:00 p.m. – 3:00 a.m.

Studio: EMI Studios, Studio 2

 

Tech Team

Producer: George Martin

Engineer: Norman Smith

Second Engineer: Ken Scott (and Jerry Boys, according to Margotin and Guesdon)

 

Stats: With a working title of “Won’t Be There with You,” this song was recorded during the early part of this lengthy session, and The Beatles’ annual Christmas flexi-disc was recorded later. Strangely, the entire session (not just the recording for the flexi-disc) was recorded, and knowing this, The Beatles put on quite a show! John Winn, in Way Beyond Compare, tells us that they exaggerated their Scouse accents and hammed it up. Winn says, “…references [were] made to Juke Box Jury, Cynthia Lennon, TV deodorant jingles, “Yesterday,” Rocky Marciano, the Supermarionation series Supercar and Stingray, uptight thespians, Frankie Howerd, “Do You Want to Know a Secret,” Woody Woodpecker, and Humphrey Bogart.” (p. 374)

 

The backing track was captured in one take, with many superimpositions to follow.

 

Instrumentation and Musicians:

 

There is a great deal of disagreement among Beatles music experts as to who is doing what on this track. Here are all of the options. Please listen to the song once again and then, “Think for Yourself.”

 

George Harrison, the composer, sings lead vocal, plays rhythm on either his 1963 Gretsch G6119 Chet Atkins Tennessean electric guitar or his 1961 “Sonic Blue” Fender Stratocaster electric guitar.

 

John Lennon sings backing vocals. Some sources say that John also played guitar on his 1964 Rickenbacker 325 Capri electric guitar or his Sonic Blue 1961 Fender Stratocaster guitar (matching George’s guitar). Other sources credit John with playing the Pianet electric piano on this song, not the guitar. Still others say John is playing the Hammond organ RT-3, not guitar.

 

Paul McCartney sings backing vocals and plays his 1961 Rickenbacker 4001S bass.

 

Ringo Starr plays one of his Ludwig Oyster Black Pearl Super Classic drum sets, mans the cowbell, and possibly the tambourine. In superimpositions, Ringo added in maracas and tambourine.

 

The unusual bass distortion featured in “Think for Yourself” is provided by a fuzz box, employed by Paul McCartney. Some sources state that Paul is using a Gibson Maestro Fuzztone distortion box while others say he is using the Tone Bender fuzz box MK1, adding that it is the same fuzz box he used for the recording (years later) for “Mean Mr. Mustard” on Abbey Road. For a lengthier discussion, check the sources below. Beatles Gear includes a thorough discussion of all the “ins and outs” on this particular issue. This is quite a debate!

 

Sources: Lewisohn, The Complete Beatles Chronicle, 205, Lewisohn, The Recording Sessions, 67, Everett, The Beatles as Musicians: The Quarry Men Through Rubber Soul, 330-331, Margotin and Guesdon, All the Songs, 288-289, Winn, Way Beyond Compare, 373-374, Hammack, The Beatles Recording Reference Manual, 90-91, Turner, A Hard Day’s Write, 92, Spizer, The Beatles for Sale on Parlophone Records, 200 and 202, and Babiuk, Beatles Gear, 173, http://www.beatlesebooks.com/think-for-yourself, and Think For Yourself – The Beatles Bible.

 

What’s Changed:

 

  1. A “Silly Love Song” Theme – Just as John did with “Nowhere Man,” here George purposely writes a song that is not a love song. Indeed, BeatlesBible.com refers to “Think for Yourself” as the group’s “first philosophical song.” Unfortunately, years later, George had absolutely no recollection of why he wrote this indignant song or to whom. He said he might have written it to the government.

 

Harrison’s inspirational motives aside, “Think for Yourself” does show a divergence into topics unrelated to happy or unhappy love relationships. The Beatles of Rubber Soul are now composing story songs, wryly humorous songs, and this track: a blunt statement of utter disgust. Variety was the order of the day. And the LP’s diversity certainly appealed to New Musical Express critic Allen Evans, who upon Rubber Soul’s release wrote: “[The] great thing about this LP is that The Beatles are finding different ways to make us enjoy listening to them.” (Spizer, 200)

 

  1. A Willingness to Create a Non-Commercial Song – All of The Beatles had to have realized that “Think for Yourself” would not be a chart-topper. However, since it always took four “yes” votes for a track to be accepted onto a Beatles’ LP, all four boys had to have approved the track. The lads have come a long way from the days of “Tell Me Why” and “From Me to You” when songs needed to be sure-fire hits, sometimes lacking in depth. The Beatles are now reaching for something more significant than popularity. They are endeavoring to make a statement, to say something they feel is important. It’s a risk, but by October of 1965, The Beatles are in perfect position to chance this. From Rubber Soul on, their songs will increasingly address thoughtful and solemn subjects such as taxes, runaways, depression, death, loneliness, and revolution. The boys (now men) are no longer simply “chart toppers.” They are becoming the multi-faceted “Spokespersons of an Era.”

 

  1. A Maturing Sound – George Harrison certainly played a pivotal role in introducing strange, innovative, complex new sounds to The Beatles’ catalog. Even his very first offering, “Don’t Bother Me,” was written in a minor key during an era where most Beatles songs were bright and replete with major chords. Here, the melody line of “Think for Yourself” is extremely complex. Indeed, Jerry Hammack, in his excellent work The Beatles Recording Reference Manual, Vol. 2, states, “Martin and the technical team had the daunting task of recording the performances verse by verse, as the trio found it difficult to master the B-flat to C to G7 harmony progressions. Once this painstaking work was finished, recording on the song was completed.” (p. 91)

 

  1. A Double Shot – Following the trend set on the Help! LP, George Harrison is permitted to write/sing two songs, one on each side of this record (the second track being “If I Needed Someone”). The next “promotion” will occur on Revolver, when George will serve up the LP-opener, “Taxman,” and will be allotted three tracks!

 

It’s an honor to welcome Janet Davis this month to give us a fresh, new look at this George Harrison track. Attending her first “Beatlefest” in 1979, Janet has been an integral part of various expert panels at The Fest for Beatles Fans, including the Historians Panel. She is on the editorial staff for one of only two extant Beatles fanzines in the U.S. today, Octopus’ Garden. And recently, Janet served as editor for the upcoming book about North American Beatles Fan Clubs by author Sara Schmidt, Dear Beatle People.

 

Jude Southerland Kessler: Janet, across the board, Beatles music critics point out that the lyrics of “Think for Yourself” are rather pedantic. To what are they referring? And is George’s tendency here, to teach or preach, a “clue to the new direction”? How does “Think for Yourself” prefigure later Harrison songs?

 

Janet Davis: As you noted above, Jude, George himself never fully explained what the song is about. He said in I Me Mine (1980), “…I don’t quite recall who inspired that tune. Probably the government.” The lyrics can be read as dialogue with a former romantic partner, dislike of bureaucracy, self-motivation, or any combination of these themes. The overarching message is that each of us should listen carefully to our inner selves above all else.

 

For the first time ever, George’s words are strongly introspective as well as fairly ambiguous. That’s a blueprint he revisited consistently throughout his career. Many of his lyrics can be read as either prayers or love songs, for example. George lets listeners choose the way they internalize his meanings. The seeds were planted with “Don’t Bother Me,” and two years later, with “Think for Yourself,” George found the authentic songwriting voice he used for the rest of his life.

 

Kessler: This was the first song in the Beatles catalog (and one of the first in rock’n’roll) in which a fuzz box was attached to the bass…and it was George’s idea to do so! Where did George get this idea, and what does the fuzz box add to the song?

 

Davis: George explained in Anthology that he first heard the fuzz box effect on “Zip-a-Dee-Doo-Dah” by Bob B. Soxx & the Blue Jeans, back in 1962. Phil Spector was producing the song and accidentally created the distortion by overloading the guitar player’s microphone.

 

There are actually two bass lines in this song, with the second utilizing the fuzz box and played more like a lead guitar. Trying the effect with Paul’s bass was simply the result of experimenting in the studio – they all liked the sound!

 

As you mentioned above, there are conflicting accounts of which pedal was used. We may never solve this mystery, but the blurry, snarly fuzz box bass is a perfect complement to the song’s edgy attitude.

 

Kessler: “Think for Yourself” gets scanty praise. Tim Riley in Tell Me Why, for example, characterizes the song as “flaccid.” George had so little memory of the track that he couldn’t recall why he wrote it or for whom! What do you find noteworthy or interesting about this track?

 

Davis: I think this song is mistakenly underrated, Jude. It’s actually a bold step forward for George as a songwriter.

 

At the time he wrote this song, George was in the shadow of the two most celebrated songwriters of the era, newly influenced by Bob Dylan, and still processing his LSD experience with John earlier in 1965. Three years of Beatlemania had taken their toll. George was ready to think and write in a more sophisticated way, and able to keep up with John and Paul’s innovative work on Rubber Soul.

 

Just a few months ago, the UK website Far Out Magazine referred to “Think for Yourself” as “quite possibly the archetypal tune for the composer, not only delivering a thought-provoking piece of pop but adding a touch of sourness to [the] proceedings, too.” On such a groundbreaking album for The Beatles, the track may get lost. But it’s really the start of George’s development as a mature, unique songwriter. For that alone, it deserves to be celebrated.

 

Kessler: What are some things about “Think for Yourself” that we haven’t yet discussed? What would you like to tell us about the song?

 

Davis: Even though it’s a driving, energetic song, neither The Beatles nor George ever performed “Think for Yourself” in concert. George and Eric Clapton played it in rehearsals for their 1991 Japan tour, but that’s as close as we get to a live performance. Also, “Think for Yourself” was recorded in just a single take with overdubs, which means it’s a rare Beatles track without multiple versions or outtakes.

 

In closing, I often think of this line in the song: “The future still looks good / and you’ve got time to rectify all the things that you should.” That was George at 22. Thirty-five or so years later as his life was drawing to a close, George asked poignantly in “Pisces Fish,” “Have we time to sort all these things out?” In those bookend lyrics, one at the beginning of his adult life, the other at the end, George is saying that what’s most important is within us. Take the time to find it. I think that was one of his most powerful messages.

 

For more information on Octopus’ Garden, head here.

 

For more information on the upcoming book by Sara Schmidt on the North American Beatles Fans Clubs, Dear Beatle People, head here.

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Rubber Soul Deep Dive Part 4: Nowhere Man

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The Fest for Beatles Fans hopes you’ve been enjoying some fresh, new perspectives on the Rubber Soul songs you’ve known and loved since 1965. Our goal is to give each song a new look, and if you like that perspective, wonderful! If you have an interesting viewpoint of your own on the song, please share it! And if you’d like to continue listening to the song as you always have, shine on! We’re enjoying re-examining these classics (after 50 plus years) with some of the world’s most revered Beatles music experts and uncovering fresh perspectives to enrich what we know. And…we’re so glad to have you along!

 

This month, we’re “deep diving” into “Nowhere Man” with John Lennon Series author, Jude Southerland Kessler, and with noted historian, Beatlefan Executive Editor, and author, Al Sussman.

 

What’s Standard:

Date Recorded: First attempt on 21 October, with a complete remake on 22 October (followed by superimpositions and mixing on the 25th and 26th of October as well as 22 November)

Studio: EMI Studios, Studio 2

 

Tech Team:

Producer: George Martin

Engineer: Norman Smith

Second Engineers: Ken Scott (and according to Margotin and Guesdon, Ron Pender)

 

Instrumentation and Musicians:

 

John Lennon, the composer, sings lead vocals and plays his 1964 Gibson J-160E acoustic guitar for the rhythm track and in superimposition, plays lead (with George) on his Fender Stratocaster

Paul McCartney, sings backing vocal and plays 1965 Rickenbacker 4401S bass

George Harrison sings backing vocal (McCartney and Harrison are double-tracked) and in superimposition, plays lead (with John) on his 1961 Fender Stratocaster

Ringo Starr plays one of his two Ludwig Oyster Black Pearl “Super Classic” drum kits

 

Sources: Lewisohn, The Complete Beatles Chronicle, 203, Lewisohn, The Beatles Recording Sessions, 65, Spizer, The Beatles for Sale on Parlophone Records, 201, Margotin and Guesdon, All the Songs, 284-285, Winn, Way Beyond Compare, 366-367, Hammack, The Beatles Recording Reference Manual, 78-80, Turner, A Hard Day’s Write, 91, Riley, Tell Me Why, 161-162, Spignesi and Lewis, 100 Best Beatles Songs, 52-53, Miles, The Beatles’ Diary, Vol. 1, 217, Everett, The Beatles as Musicians: the Quarry Men Through Rubber Soul, 322-324, and Coleman, Lennon, 298-299.

 

What’s Changed:

 

  1. The Definition of a “Rock Song” – “Rock songs did not usually open this way.” So say Stephen Spignesi and Michael Lewis, referring to the exquisite opening of “Nowhere Man,” a brilliant bit of three-part a cappella harmony from Lennon, McCartney, and Harrison. Ranking the song as the #13 Best Beatles Song of all time, they explain that the tight vocal harmony sends chill bumps even before the lyrics begin to tug at our hearts. And although this singular sound was difficult to reproduce live, The Beatles chose to perform the haunting track on their 1966 tour, singing it in their final concert at Candlestick Park. But on that October night in 1965 when the boys recorded this stirring and unique introduction, they redefined the essence of “rock song” in one echoing moment. Mark Lewisohn sums up the work done in studio on 22 October as “A fine piece of work.” (The Beatles Recording Sessions, 65)

 

  1. The Birth of “Together, Alone” – Throughout the pandemic of 2020, the slogan “together, alone” resounded across the world. But that theme has its roots here in Lennon’s composition about shared loneliness. Later, in “Strawberry Fields Forever,” John would express the isolation of genius a bit differently: “No one, I think, is in my tree/ I mean, it must be high or low.” But no matter how John articulated it, Beatle John experienced life — utterly surrounded by co-workers, assistants, press men, business associates, and fans — in absolute seclusion. This isolation was nothing new, however. From childhood, his genius had always quarantined him; John was ever the “odd one out.”

 

  1. No Mere Love Song – Many Beatles music experts state that “Nowhere Man” is the first Beatles song that is not about love. And although, technically, that is true — since it is not a “he loves her,” “she loves him,” or “I love you” ballad — this song is about a much more pervasive, broad-sweeping love. All of The Beatles had experienced the loneliness of “a train and a room and a car and a room and a room and a room.” But John knew that the loneliness they had endured (and what he had always experienced) could not be unique. And so, as Tim Riley points out: in “Nowhere Man,” John sang “for the unsung, for the people who have shut themselves off from life.” (Tell Me Why, 162) John took a very personal message and made it a universal love song. A powerful one.

 

  1. The Concept of Creating Somnambulantly – Paul had created “Yesterday” in a dream. Now in the autumn of 1965, John, who had struggled for hours to pen a new song for the emerging Rubber Soul LP, gave up in frustration and “went to have a lie down.” (Everett, The Beatles as Musicians, Vol. 1, 322) As he drifted off into a restful state, suddenly, the words to “Nowhere Man” sprang to life. John said, “Then I thought of myself as a Nowhere Man — sitting in his nowhere land,” (Spizer, Beatles for Sale on Parlophone Records, 201) and the lyrics surfaced, “words and music, the whole damn thing!”(Everett, 322) By 1967, in his “I’m Only Sleeping,” John revealed that the practice of relaxing and letting go —“stay[ing] in bed” and “float[ing] upstream” (not downstream, which would indicate sleep) — allowed his muse to speak to him. Writing songs in bed became a standard Lennon practice. And it all began here.

 

  1. Experimentation with the “Jingle Jangle Sound” – Although The Beatles didn’t corner the market on the emerging “jingle jangle” sound of 1965 (The Byrds had already released “Mr. Tambourine Man,” in June 1965.), they were one of the first groups to employ it. Paul says that he pushed Engineer Norman Smith to create a “treble-y” guitar sound. When Smith said that all he could do was “put full treble on it,” Paul pressed for more saying, “Well, put that through another lot of faders and put full treble up on that. And if that’s not enough, we’ll go through another lot of faders…” (Spignesi and Lewis, The 100 Best Beatles Songs, 53) The result was the magical aura of “Nowhere Man,” which may seem commonplace today…but in 1965, this effect was unique and enchanting.

 

A Fresh, New Look:

 

Recently, we were honored to be able to talk with distinguished historian, Al Sussman, about “Nowhere Man.” Al is the Executive Editor for Beatlefan magazine and has for many years been an integral part of The Fest for Beatles Fans.  He is also the author of Changin’ Times: 101 Days That Shaped a Generation and was a contributing author to Bruce Spizer’s The Beatles Finally Let It Be, The Beatles Get Back to Abbey Road, The Beatles and Sgt. Pepper: A Fan’s Perspective, and The Beatles White Album and The Launch of Apple. Here are Al’s insights into John Lennon’s honest and heartfelt 1965 ballad, “Nowhere Man.”

 

Jude Southerland Kessler: Al, journalist and Beatles friend, Ray Coleman, in his book, Lennon, says that in John’s 1965 classic hit: “The Nowhere Man is an impotent, hollow symbol of the Swinging Sixties.” And similarly, Steve Turner in A Hard Day’s Write says that “Nowhere Man” was interpreted by some as “a comment on the erosion of belief in modern society.” Please tell us about the historical backdrop of 1965 that fueled this solemn portrait of an empty, vacuous world.

 

Al Sussman: A less-oblique, more directly personal song than “Nowhere Man” is Brian Wilson’s “I Just Wasn’t Made For These Times,” which was written around the same time as “Nowhere Man” and appears on the Beach Boys’ classic Pet Sounds album. Living in the hothouse atmosphere of the mid-60s was not easy, particularly for a still-young man in a leadership position in what John later called “the greatest show on earth/For what it was worth.”

 

With an ongoing war in Vietnam, racial unrest not just in the U.S. but in England, too, an emerging drug culture, and a media hungry for The Beatles’ views on all of this, it was easy to believe in the “erosion of modern society.” Much has been written about how The Beatles had each other to get them through the madness that surrounded them but, by mid-1965, the only one still residing in Swinging London was Paul. The others had all bought homes in the stockbroker-dominated suburbs. So, living in a mansion and in a marriage that he felt wasn’t giving him fulfillment, John was truly isolated, and his increasing intake of pot and other drugs wasn’t helping. Hence, his feeling that he was “A real nowhere man/Sitting in his nowhere land/Making all his nowhere plans for nobody.”

 

Kessler: In Tell Me Why, Tim Riley observes that in “Nowhere Man,” John Lennon reminds us that “no one can make it through life’s difficulties alone…the best crutches are other people.” (p. 162) What were some of the personal difficulties with which John struggled in 1965? What circumstances made him feel like “a real Nowhere Man living in his nowhere land”?

 

Sussman: It’s interesting to consider that, in 1965, John Lennon wrote “Help,” “You’ve Got to Hide Your Love Away,” and “Nowhere Man,” all of which reflected the isolation he was experiencing in his new suburban life away from “the eye of the hurricane.” It was John who later called this his “fat Elvis” period, and not just for the few extra pounds he had put on. Of course, it’s a mark of the complexity of the man and the composer that he also wrote “In My Life,” “It’s Only Love” and, yes, “Norwegian Wood” during this same period. Not being as natural a pop craftsman as Paul, it could take some cajoling from those “best crutches,” but the isolation seemed to inspire one of John’s finest composing periods.

 

Kessler: I know you really like this song, Al. What elements make this song one of your favorite Beatles numbers? Is it the music, the lyrics, the message, all of the above…or something else?

 

Sussman: I had very much been a fan of the John/Paul/George three-part harmonies on songs like “This Boy” and “Yes It Is” and, during ’65, I’d become very attached to the emerging folk-rock sound. So, when I first heard “Nowhere Man” on WABC in New York, when they briefly played the four tracks from the British Rubber Soul not on the American edition, I instantly fell in love with the song. I loved the three-part harmony vocals and the background vocals and the Byrds-influenced instrumentation.

 

Frankly, I could also relate to John’s lyrics, even as a 16-year-old. And I was disappointed, when It was released as a U.S. single in Feb. 1966, that “The Ballad of the Green Berets” kept “Nowhere Man” from continuing the string of Beatles No. 1 singles. That autumn, as a high school junior, I took a Modern Communications course and, at one point, the teacher had us bring in lyrics to a popular song of the time. Most of the kids in the class didn’t take it very seriously and brought in lyrics for typical love songs of that moment (“I’m Your Puppet”), but I brought in “Nowhere Man,” even though, at that point, I didn’t know the real meaning behind it. All these years later, “Nowhere Man” is still among my top five favorite Beatles songs, and it’s aged exceptionally well.

 

Kessler: What would you like to share with us about “Nowhere Man” that we haven’t discussed in this blog?

 

Sussman: Younger fans have somehow gotten the impression that the reason why “I’ve Just Seen A Face” and “It’s Only Love” were added to the U.S. Rubber Soul, was so the album would sound more folk-rock. Frankly, the middle-aged big band/Sinatra-philes who were running American record companies in the mid-60s wouldn’t have known folk-rock if it hit them in the face. The two most folk-rock-esque songs on the U.K. LP were George’s very Byrds-derived “If I Needed Someone” and John’s “Nowhere Man” — neither one of which made the Capitol album.

 

CLICK HERE for more information on Al Sussman’s book, Changing Times: 101 Days That Shaped a Generation

CLICK HERE to follow Al on Facebook

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Rubber Soul Deep Dive Part 3: You Won’t See Me

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Side One, Track Three

 

“You Won’t See Me”

 

by Jude Southerland Kessler and Tom Frangione

 

The Fest for Beatles Fans’ deep dive into the innovative tracks on Rubber Soul continues with Jude Southerland Kessler, author of The John Lennon Series, and Tom Frangione, host of the “Way Beyond Compare” program on Sirius XM’s Beatles Channel, Channel 18. For years, Tom has been an integral part of the Fest. He has also served as the popular co-host of The Beatles Channel’s “Fab Fourum.” Recently, Tom launched a third show called “Apple Jam,” with co-host David Fricke. Together, they explore The Beatles’ groundbreaking record label.

 

Here are Jude and Tom with a fresh, new look at this McCartney classic.

 

What’s Standard:

Date Recorded: Thursday, 11 November 1965

Time Recorded: Evening Session (6.00 p.m. – 7.00 a.m.)                        

Studio: EMI Studios, Studio 2

 

Tech Team:

Producer: George Martin

Engineer: Norman Smith

Second Engineers: Ken Scott (and according to Margotin and Guesdon, Richard Lush)

 

Stats: Recorded in 2 takes on 11 November, with superimpositions added later.

Inspiration: The melodic bass work of Detroit bass man, James Jamerson as well as the chord progression in “The Same Old Song” by the Four Tops.

 

Instrumentation and Musicians:

 

Rarely is the instrumentation list controversial. In this case, however, sources widely differ on “who played what.” Some authorities list Paul’s bass plus two additional guitars at work: one, George’s and one, John’s. Some experts say John only played tambourine. Others list Ringo as manning the tambourine. Some sources say that John played the piano; far more state that the piano was played by Paul. Here is a compilation of all possible scenarios.

 

Paul McCartney, the composer, plays bass, piano, and supplies lead vocal.

John Lennon, sings backing vocal (In some sources, John is on the piano, and others have John also playing guitar.)

George Harrison sings backing vocal, and some sources designate George as playing rhythm guitar.

Ringo Starr plays drums…possibly, he plays tambourine, if John is not playing the tambourine.

Mal Evans plays the Hammond organ.

 

Sources: Lewisohn, The Complete Beatles Chronicle, 206, Lewisohn, The Beatles Recording Sessions, 68, Spizer, The Beatles for Sale on Parlophone Records, 201,  Margotin and Guesdon, All the Songs, 282-283, Winn, Way Beyond Compare, 376, Hammack, The Beatles Recording Reference Manual, 94-95 and 268, Turner, A Hard Day’s Write, 90, Riley, Tell Me Why, 159-160, Spignesi and Lewis, 100 Best Beatles Songs, 129, Miles, The Beatles’ Diary, Vol. 1, 217, Everett, The Beatles as Musicians: the Quarry Men Through Rubber Soul, 332-333, and  Norman, John Lennon: The Life, 416.

 

What’s Changed:

 

  1. Paul’s Waning Patience – As the desultory “war” between Jane Asher’s independence and Paul’s need for a girl who could be “here, there, and everywhere” for him waged on, his tone began to change. At first, on A Hard Day’s Night, Paul was merely wistful, regretting the fact that Jane and he were estranged so often. “Wishing [she] weren’t so far away,” but agreeing to compensate by remembering the “things [they] said today,” Paul pressed on. As months passed, he was still mildly optimistic that if Jane could “try to see things [his] way,” they “could work it out.” And yet, there was always the underlying implication if the self-determining lovers couldn’t “get it straight,” then ultimately, Paul would “say goodnight.”[1]

 

By the time that Rubber Soul was in production, very little had changed in the famous long-distance relationship. And Paul was disturbed. In “You Won’t See Me,” his tone was much less conciliatory. He bluntly stated: “I have had enough, so act your age.” Without trying to sugar-coat his discontent, McCartney vowed that if nothing altered, he would certainly “lose his mind.” Indeed, the lovers’ problems were plainly enumerated in the bridge (cleverly housed in a minor key to convey melancholy): “Time after time, you refuse to even listen…I wouldn’t mind, if I knew what I was missing!” Paul’s endurance had all but expired.

 

One wonders if it was coincidence or brilliance that McCartney (as Ken Womack aptly points out in Long and Winding Roads: The Evolving Artistry of The Beatles) “borrowed the three-chord sequence that undergirds ‘You Won’t See Me’” from The Four Tops’ hit, ‘It’s the Same Old Song’.[2] Because singing “the same ole song” — albeit in creative, chart-topping iterations — is precisely what McCartney was lamenting in “You Won’t See Me.” Paul was weary of the same woeful complaints, song after song. He was tired of trying to get his girl to engage. He felt defeated that Jane and he had “lost the time that was so hard to find.” So, pounding out brusque piano bursts and short, clipped lyrics, he vented his long-standing frustration. By late 1965, Paul’s patience had waned.

 

  1. Employment of Lennonesque Double Entendre – Beatles fans tend to think of the “Literary Beatle,” John Lennon (author of In His Own Right and A Spaniard in the Works), as The Beatles’ wordsmith, the lyricist. And indeed, Paul was the first to admit that he wrote his music first with lyrics following later. In “You Won’t See Me,” however, Paul enjoys verbal dublage as much as John does in brilliant songs such as “It Won’t Be Long” and “Please Please Me.” Several lines in “You Won’t See Me” intertwine multiple levels of meaning.

 

First, look at the opening lines of the song. Paul sings, “When I call you up, your line’s engaged.” This phrase could mean, quite simply, that when he rings his love on the telephone, her phone line is “engaged” or as Americans say, the phone line is “busy.”

 

However, a secondary meaning hovers in the wings. “Your line” may also mean “your line of thinking.” (As in, “I’m not falling for your line!”) And the word “engaged” may also mean “put into action” or “put into play.” (As in, “He engaged his technical skills in the challenging task.”) If you insert those two secondary meanings into the song, then Paul is cleverly saying that when he tries to connect with his girlfriend to discuss their problems, her standard way of thinking (aka, “her line”) is already at work (or “engaged”). In other words, when he tries to reach out to her, she is immediately defensive and unreceptive to what he’s saying.

 

Similarly, take a look at the title phrase, “You won’t see me,” which is repeated throughout the song. In the beginning of the track, “You won’t see me,” simply translates as, “You won’t talk to me,” or “You won’t meet with me,” or “You won’t hear me out.” A very straightforward complaint.

 

But then, the meaning shifts slightly. Instead of complaining that he is being merely physically and literally rejected, Paul’s use of “you won’t see me” alters a bit here:

 

We have lost the time
That was so hard to find,
And I will lose my mind
If you won’t see me.

 

Here the singer seems to be bemoaning the fact that his love won’t try to understand him. He’s not merely despondent because she won’t connect with him face-to-face; he’s disappointed that she won’t make an effort to “see” what he is trying to say. This iteration of the phrase is akin to the popular British idiom, “You won’t see sense!” which translates, “You won’t try to comprehend the facts or the truth in the matter.” Failure to “see him” and his side of the story is the singer’s underlying grievance.

 

But…there is yet another level of meaning to the simple phrase, “You Won’t See Me.” Look at it in this final context:

 

I won’t want to stay (Ooh-ooh, La la-la)
I don’t have much to say, (Ooh-ooh, La la-la)
But I’d get turned away (Ooh-ooh, La la-la)
And you won’t see me!

 

Here the singer is threatening that if his love continues to push him away and turn a deaf ear to his rationale, then he “won’t want to stay.” He vows that he will give up trying to explain and “won’t have much to say.” And ultimately, she won’t “see” him at all, because he will walk away. In other words, the lovers won’t be “seeing each other” anymore. Their story will end.

 

This adroit use of such an unpretentious phrase illustrates the growing maturity of McCartney as a lyricist in 1965. Even on a song that he was pressed to create (because The Beatles needed to complete Rubber Soul quickly), Paul produced a title phrase that functioned on three complex levels of meaning.

 

Finally, what is one to make of the “ooh-ooh la, la, la” backing chorus verbiage? Certainly, that is not a phrase that four former leather-wearing, swearing, drinking, carousing Liverpool boys would ever say…or sing! And yet, this whimsical patter is repeated over and over, as the response to Paul’s every grievance in the song.

 

Sung in the upper scale, the “Ooh-ooh la, la, las!” appears to be the feminine response to the male singer’s objections. Is Paul depicting his love’s answer to his complaints as “Whatever!” or “Blah, blah, blah!” or “I’m not listening! I’m not listening!”? Possibly. The “ooh-ooh la, la, la” tag at the end of each line does seem to serve as a brush-off to his arguments.

 

All in all, “You Won’t See Me” is a song teeming with lyrical surprises. It is rich in the “wink, wink, nudge, nudge” tradition that Scousers could master so well. This is the third song on the Rubber Soul LP that — once we examine the words— takes us by surprise.

 

A Fresh New Look:

 

Recently, I was thrilled to chat with my long-time friend from The Fest for Beatles Fans, Tom Frangione, who not only co-hosts two radio shows on Sirius XM’s Beatles Channel, but also hosts his own Beatles Channel program, “Way Beyond Compare.” We are so proud of our beloved Emcee for the Jersey and Chicago Fests, and we welcome Tom to the Fest Blog discussion of Rubber Soul.

 

Jude Southerland Kessler: Tom, Barry Miles in The Beatles’ Diary, Vol. 1, calls “You Won’t See Me” a “superb piece of commercial songwriting.” (p. 217) What makes this track so marketable? What is the unique appeal of this late 1965 McCartney offering?

 

Tom Frangione: Well, without over-generalizing, it has all the hallmarks of the “mature” period of the early Beatles pop. They’re writing material that’s rapidly outpacing the standard Top-40 fare of the day, bringing a bit more conflict into the lyrics, stacking the harmonies in the backing vocals – not just the “oohs and aahs,” — but also in the echoed cascading phrases of the choruses (“if I knew I wouldn’t, no I wouldn’t”). That gives the song a great deal of texture. And to borrow a phrase, it provides “an early clue to the new direction” for Ringo’s drumming. The fills are much busier, and Ringo would explore this at greater length in upcoming works, including his own favorite drum part in “Rain.” Furthermore, his hi-hat work is a precursor to what we would soon hear in songs like “Paperback Writer.”

 

Kessler: The first two songs on Side One of Rubber Soul have depicted relationships with strong, autonomous women. Is the invisible female protagonist in “You Won’t See Me” portrayed much in the same vein?

 

Frangione: That’s a very interesting point I’d never considered, but yes, women are clearly taking on a more dominant, less passive role in the first THREE songs on Rubber Soul. The mix of independence and taking the lead in “Drive My Car” and “Norwegian Wood” sees the ante raised here. This female is pretty much dictating the pace of this relationship. Gone is the “but I’ll do anything to win you” urgency from her male counterpart; however, in the end you can sense a scenario where there’s a risk of losing at all costs. This theme may be an early precursor to Jackson Browne’s line years later: “You win. I win. We lose.”

 

Kessler: What haven’t we discussed/discovered about “You Won’t See Me” that you would like to share with us, Tom?

 

Frangione: The song’s structure is quite deceiving. In 2016, Paul included “You Won’t See Me” in the acoustic set on one of his latter-day tours (2016, I think), showing the underlying foundation upon which the chords were built – a 2-string descending line.

(Check it out on YouTube).

 

Yet, when we “legend in our own room” guitar types play it, we see a chord progression that actually ascends from A to B to D and back to A for the choruses. That buried descending line provides the secret ingredient. Toss in a modulation from major key to minor in the 3rd line of each verse, and the dissonance of diminished chords in JUST the right spot in the chorus (it’s right on the word “refuse”, precisely where the entire conflict of the lyrics rest), and you’ve got a very sophisticated piece of songwriting.

 

“You Won’t See Me” is another one of those Beatles songs that, had it been a single, would have a been a MONSTER hit!

 

*********

 

 

Check out Tom Frangione’s TWO new hit programs on Sirius XM’s “Beatles Channel” (Channel 18):

 

“Way Beyond Compare” – an informative look at Beatles Rarities, alternate takes, live performances, and versions of Beatles songs you’ve never heard before! This unique program debuts each week on Sunday…and “anytime at all” on the Sirius XM app as well.

 

“Apple Jam” – a close look at the history, artists (such as Mary Hopkin, Badfinger, Billy Preston, James Taylor, etc.), and records released on The Beatles’ own Apple Records label. Tom Frangione co-hosts the show with rock’n’roll journalist, David Fricke. Catch this one-hour program on the first Wednesday of each month…with repeats throughout the month and “anytime at all” on the Sirius XM app as well!

 

Also…look for Tom’s articles in Beatlefan magazine!

 

[1] Margotin, Jean-Michel and Phillipe Guesdon, “We Can Work It Out,” All The Songs: The Story Behind Every Beatles’ Release, 314. Margotin and Guesdon remind us that “We Can Work It Out” was written in 1964 at Rembrandt, the Liverpool house that Paul bought for his father. Chronologically, therefore, the song and the progression of the relationship portrayed by Paul in “We Can Work It Out” falls in between A Hard Day’s Night and Rubber Soul.

[2] Womack, Kenneth, Long and Winding Roads: The Evolving Artistry of The Beatles, 118.

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Rubber Soul Deep Dive Part 2: Norwegian Wood

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Side One, Track Two

 

“Norwegian Wood”: A “Roll” Reversal

 

By Jude Southerland Kessler and Bruce Spizer

 

Throughout 2021, The Fest for Beatles Fans blog will take a deep dive into the songs that comprise 1965’s innovative, transitional Beatles LP — a record that Mark Lewisohn dubs “a major turning point in The Beatles’ career” — Rubber Soul. (The Complete Beatles Chronicles, 202) In our second of the series, Louisiana natives and Beatles authors Bruce Spizer and Jude Southerland Kessler look at what we already know about this edgy song, “Norwegian Wood,” and what we can discover in a fresh, new look! Enjoy!

 

What’s Standard:

Date Recorded: 12 October and 21 October 1965

Time Recorded: 7.00 – 11.30 p.m. on 12 October

                            2.00 – 7.00 p.m. on 21 October

Studio: EMI Studios, Studio 2

 

Tech Team:

Producer: George Martin

Engineer: Norman Smith

Second Engineers: Ken Scott and Phil McDonald

(Margotin and Guesdon add Ron Pender)

Original Song Title: “This Bird Has Flown”

 

Stats: Recorded in 4 takes on 12 October and then completely re-made in 3 takes on 21 October.

 

Instrumentation and Musicians:

John Lennon, the composer, plays acoustic rhythm guitar and sings lead vocal.

Paul McCartney plays bass, piano, and supplies backing vocal.

George Harrison plays lead guitar and sitar. This is the first time the sitar has been used in a pop recording, according to Mark Lewisohn, The Beatles Recording Sessions, 63, and Spizer, The Beatles for Sale on Parlophone Records, 201.

Ringo Starr plays tambourine, maracas, and finger cymbals. (In the 12 October session, Ringo played bass drum and on 21 October, he also played bass drum at the end of Take 3. Winn, 362 and 366.)

 

Sources: The Beatles, The Anthology, 194, Lewisohn, The Complete Beatles Chronicle, 202-203, Lewisohn, The Beatles Recording Sessions, 63, Spizer, The Beatles for Sale on Parlophone Records, 200,  Margotin and Guesdon, All the Songs, 278-281, Winn, Way Beyond Compare, 362, and 366-367, Hammack, The Beatles Recording Reference Manual, 63-65 and 73, Turner, A Hard Day’s Write, 89, Riley, Tell Me Why, 158-159, Spignesi and Lewis, 100 Best Beatles Songs, 139-141, Miles, The Beatles’ Diary, Vol. 1, 212, Babiuk, Beatles Gear, 169-173, Badman, The Beatles: Off the Record, 147-148, Norman, Shout!, 155, and Goldman, The Lives of John Lennon, 184-185.

 

What’s Changed:

  1. Musical Maturity – Despite one’s personal feelings about Albert Goldman, he most aptly observed, “When John Lennon finished recording ‘Norwegian Wood,’ he was no longer Beatle John, the Man in the Bubble Gum Mask. He was now the brilliant, young innovator who was doing more than anybody in the music business to transform the rock’n’roll of the Fifties into the rock of the Sixties.” (The Lives of John Lennon, 185) Similarly, Mark Lewisohn calls even the first iteration of “Norwegian Wood” (from 12 October) a “brilliant recording,” and he quickly adds that the final version (from 21 October) is “quite different but equally as dazzling.” Indeed, Lewisohn sees the whole of Rubber Soul as “excellent musicianship with a new lyrical direction.” (The Complete Beatles Chronicle, 203)

 

By the autumn of 1965, The Beatles were no longer the innocents of “From Me to You” or “I Want to Hold Your Hand.” They were multifaceted in their mastery of the studio, technological production, and lyrical composition. In “Norwegian Wood (This Bird Has Flown),” composed very early in 1965 (and performed by John for George Martin on a skiing holiday in February 1965), John had progressed eons past his ingenue status. Indeed, he had become so introspective about his work that he could record a successful initial offering on 12 October — heavily laced in sitar and boasting superb harmony as well as an honest, raw Lennon vocal — and then reject this version to start all over again on 21 October, producing a cleaner, more commercially viable work. All of The Beatles were coming into their own as musicians, but even very early in 1965, Lennon seemed to be surging forward into the experimental “studio era.”

 

  1. Employment of Double Entendre – John Lennon loved wordplay. This propensity was evidenced in his first book (proclaimed by Foyles Bookstores to be 1964’s finest work in British literature), In His Own Write. During the spring of 1965, when he was composing “Norwegian Wood,” John was completing his second volume of prose and poetry, A Spaniard in the Works. So, phrases lavishly imbued with double meaning such as “Norwegian Wood” and “I lit a fire” (although after John’s death, Paul asserted that he had coined this famous phrase) came naturally to the Author Beatle.

 

Furthermore, in the manipulation of the melody, John also artfully added a second level of meaning to the song. In “Drive My Car,” the powerful and independent female “running the show” speaks on one note only. Thus, she emerges as a powerful but one-dimensional character. We can’t “see” her; she exists in caricature. But the woman in “Norwegian Wood” is vividly depicted as an alluring and mysterious female — through John’s exotic melody and use of remarkable instruments. In the song’s opening waltz tempo, she beckons. In the sexy sitar sound, she seduces. She serves wine in her own boudoir and dominates her potential sexual partner. Throughout her seduction, the lilting music flows as freely as the wine, but when she resolves to sleep alone, the bridge becomes sharp, staccato, hard-hitting. John not only uses words to portray his glamorous femme fatale, but he also adds the music itself to, in clever double entendre, reveal her nature through her emanating “siren song.” Quite clever. Quite Lennon.

 

  1. Inculcation of International or “World Music” – In The Anthology, Ringo is quoted as saying that on “Rubber Soul, [we] began stretching the writing and playing…This was the departure record. A lot of other influences were coming down and going on the record…We were really opening up to a lot of different sounds.” (p. 194)

 

Rubber Soul is indeed replete with finger cymbals, a ching-ring (in “In My Life”), maracas, tambourines, and a “wound-up piano” (to imitate a harpsichord, in “In My Life”). (Babiuk, Beatles Gear, 169) In “Norwegian Wood,” we hear the curious and exciting sound of a sitar. Most Beatle fans know that George Harrison had been introduced to the sitar in the spring of 1965, when Director Richard Lester employed musicians to play the instrument for “comical purposes” in Help! (Norman, Shout!, 255) Badman quotes John as saying, “On the set [of Help!]…an Indian band [kept] playing in the background, and George kept staring and looking at them.” (The Beatles: Off the Record, 147-148)

 

Almost immediately, Harrison purchased his own sitar — “a 1940s or 1950s Kanai Lal & Brother sitar…[from] India Craft in London (Hammack, The Beatles Recording Reference Manual, 63, and Babiuk, Beatles Gear, 169) and began learning to play it. Only seven months later, in October, we find both George and John willing to incorporate this unique, “funny sound” (as George Harrison refers to it in Badman, The Beatles: Off the Record, 147-148, and Babiuk, Beatles Gear, 169) into their catalogue. The Beatles’ increasing willingness to embrace international or “world music” decidedly enriched their already matchless melodies. While many of the bands of the 1960s were intent upon producing a “signature sound,” The Beatles were unafraid to push boundaries. They kept expanding horizons rather than limiting themselves to what they’d done before. The result was a thrilling, melodic lushness that never grew stale.

 

A Fresh New Look:

 

Recently, I was honored to confer with the Guru of Beatles Music History and the author of the new book, The Beatles Finally Let it Be, Bruce Spizer, about the depth and intricacies inherent in “Norwegian Wood.” Here is our conversation:

 

Jude Southerland Kessler: Bruce, I know that one of the new books in your successful Beatles Album Series that you are working on right now takes a look at The Beatles’ 1965 Help! LP. How did the recording techniques employed on Help! pave the way for what was to come on the revolutionary LP that was late 1965’s Rubber Soul?

 

Bruce Spizer: The Beatles’ first two albums were recorded on a two-track recorder, most often with vocals on one track and instruments on the other. The two tracks were then mixed down for a mono mix in which the vocals and instruments were balanced for maximum effect. These performances were live in the studio, with The Beatles playing their instruments and singing at the same time. Sometimes an instrument, such as keyboards by George Martin or harmonica by John, would be overdubbed to enhance the track. Other times, a vocal would be double-tracked. But for the most part, the recordings were vocals backed by two guitars, bass and drums.

 

By A Hard Day’s Night, the group was recording on a four-track recorder. This gave them the opportunity to break up the vocals and instruments onto separate tracks. For example, they could record the bass and drums on track one, the guitars on track two, the lead vocal on track three and leave four free for overdubs. They could then play back the tape and record a second vocal and another instrument, such as tambourine, on the fourth track of the tape while listening to the already recorded vocals and instruments.

 

For Beatles For Sale, George Martin and the group took greater advantage of the four tracks, routinely double-tracking vocals and using exotic percussion instruments.

 

On the “Help!” LP, the process evolved even more, and the group began experimenting with different instruments and effects. George Martin added a string quartet to “Yesterday.” The Beatles were also moving towards more of a folk-rock sound, as could be heard on some of the later tracks recorded for Help!, including “I’ve Just Seen A Face” and “It’s Only Love,” both of which would end up on the Capitol version of Rubber Soul in the U.S.

 

And it wasn’t just the recording of the Help! album that influenced Rubber Soul and well beyond. On the set of the movie Help!, as Jude mentioned, George became acquainted with the sitar, an Indian string instrument. There was a scene in a restaurant where musicians were playing Beatles songs on Indian instruments. This was the idea of the film’s musical director, Ken Thorne, who was used instead of George Martin, who did not get along particularly well with the film’s director, Richard Lester. Had Martin been the film’s musical director, he may not have chosen the Indian instruments and Harrison may not have been introduced to the sitar on the movie’s set. On the other hand, Martin had used sitar on a Peter Sellers’s recording, so he may very well have used Indian instruments in the film’s soundtrack. We will never know if Harrison would have picked up the sitar had Martin done the score. We do know that it was Thorne’s use of Indian instruments that exposed George to a whole new world of music.

 

Anyway, by the time The Beatles recorded Rubber Soul, they had mastered the recording techniques on the four-track and were branching out to different instruments, going way beyond the two guitars, bass and drums line-up. They were looking for new sounds and were using different instruments to get those sounds.

 

Kessler: You mentioned the sitar…let’s talk a bit more about that emerging instrument. From its debut on Rubber Soul, the sitar became a staple with The Beatles, specifically with George Harrison. But learning to control the sound of this exotic, new instrument was a journey. How did the sitar’s presence alter and develop on “Norwegian Wood” from Take 1 to Take 4? What were the technical difficulties inherent in recording the sitar?

 

Spizer: As Jude has pointed out, The Beatles recorded “Norwegian Wood” at two separate sessions. Take 1 was recorded on 12 October 1965, under the title “This Bird Has Flown,” during the first day of recording for the album. Although it was completed in one take, the song was given several overdubs. The finished master featured John’s lead vocal, his and Paul’s backing harmonies, acoustic guitar and bass, percussion (finger cymbals, tambourine and maracas) and George on sitar. While the sitar adds a new sound for The Beatles, George’s playing is a bit labored. He is gaining familiarity with the instrument, but still has a long way to go.

 

Although Take 1 was remarkable and could have been issued “as is,” The Beatles decided to completely re-record “Norwegian Wood” on 21 October. John had difficulty with his acoustic guitar part on Takes 2 and 3, but nailed it on Take 4. The basic backing track included John on lead vocal and acoustic guitar, Paul’s backing vocal and bass, and George on 12-string acoustic guitar. George overdubbed a much-improved sitar part. Knowing George Harrison’s dedication to getting his solos exact, I am sure he practiced it many times over before the re-recording of the song. Other embellishments included tambourine, a clapping sound, Ringo’s bass drum, and a crash cymbal at the end of the song.

 

The sitar must have posed issues for the Abbey Road engineers. The sitar does not have an electric pickup, so its sound signal is not sent directly from the instrument to an amplifier like an electric guitar or bass guitar. It must be recorded through a microphone. The trick is where to place the microphone as it needs to pick up the strings on which the melody line is played as well as the drone strings.

 

Based on the recording appearing on Rubber Soul, I think George and the engineers did an excellent job, particularly considering their relative unfamiliarity with the sitar.

 

Kessler: In Revolution in the Head, Ian MacDonald claims that “Norwegian Wood” is “the first Beatles song in which the lyric is more important than the music.” (p. 130) Do you concur? We know John was a master of wordplay, especially double entendre. How did he use that tongue-in-cheek literary technique in this song?

 

Spizer: I wouldn’t go as far as Ian on that one. I would say that the lyrics and the words are equally important. And while the words to “Norwegian Wood” are a long way from “Love, love me do/You know I love you,” John had already showed his fondness for the double entendre on “Please Please Me,” way back on the group’s second single. Similarly, the lyrics on “There’s A Place” from the group’s first album go way beyond the simple love songs of the day, hinting at John’s reflective nature that would find its way into later songs, such as “I’m A Loser,” which also was recorded before “Norwegian Wood.” The song was not even the first by John to tell a story. That distinction goes to “No Reply.” No doubt the words to “Norwegian Wood” are among John’s best from 1962 – 1965, but I would not consider the song to be the first where the words were more important than the music.

 

Also, as I’ve already said, the music on “Norwegian Wood” is equally important. It has a catchy melody line and excellent guitar playing by John and George. And it provides a new sound for the group through George’s sitar playing. As Jude pointed out, it represented the first time the sitar was featured in a released rock song. (The Yardbirds tried sitar on their 1965 recording of “Heart Full Of Soul,” but it didn’t sound quite right. Instead, Jeff Beck played his guitar part to emulate the sitar.)

 

John’s lyrics were in and of themselves a double entendre in the sense that there is more than one thing going on. John was trying to write about an affair, but to disguise it so that his wife Cynthia wouldn’t catch on. John had a great opening line that lent itself to telling a story: “I once had a girl, or should I say, she once had me.” Now that’s really tongue-in-cheek! From that line, the song evolved into a story of an evening in a woman’s flat where the principal décor was wood—cheap pine, often referred to then as Norwegian wood. (Thus, the tile of the song refers to the apartment’s furniture.) After being led on by the girl and then forced to sleep in the tub, the singer awakes to find himself alone. Although the ending words, “So I lit a fire, isn’t it good, Norwegian wood,” could be interpreted to mean lighting a fire in the fireplace to keep warm, Paul has said it meant that the singer burned down the house as an act of revenge.

 

Kessler: Bruce, can you tell us something about “Norwegian Wood” or about Rubber Soul that we haven’t considered or discussed?

 

Spizer: “Norwegian Wood” is the second song on both the Parlophone U.K. version of Rubber Soul and the Capitol U.S. version of the album. Interestingly, however, it follows two completely different style opening tracks.

 

On the U.K. album, the song follows “Drive My Car,” which is a hard rocker. It sounds totally different than “Norwegian Wood,” but the two songs work well together because of their lyrics. “Drive My Car” is not a typical pop love song. It has a story line about an interesting girl who want to be famous, but is not quite there yet. She doesn’t even have a car! And, of course, the phrase “drive my car” is one that serves as sexual double entendre. And even though, musically, the first two songs on the album are worlds apart, the “Beep beep beep beep, yeah!” ending of “Drive My Car” flows nicely into John’s lovely acoustic guitar intro to “Norwegian Wood.”

 

On the Capitol album, “I’ve Just Seen A Face” is the perfect musical lead into “Norwegian Wood.” Both have intricate acoustic guitar parts and have that same folk-rock sound that dominates the Capitol version of Rubber Soul. As for the lyrics, “I’ve Just Seen A Face” is a typical pop love song, whereas “Norwegian Wood” certainly is not.

 

The bottom line is that “Norwegian Wood” is such a great song that it works well as the next track to two completely different sounding songs!

 

An oddity: The song was originally titled “This Bird Has Flown.” Then, it was nearly called “This Bird Has Flown (Norwegian Wood)” before the final title became “Norwegian Wood (This Bird Has Flown).”

 

A remarkable achievement about the Rubber Soul album in general: The recording sessions were rushed as The Beatles needed to complete 14 songs for an album plus two more for a single in time for release for the 1965 Christmas season market. Yet these sessions yielded the best crop of songs for any album. Out of the 16 tracks recorded during the session, eight (one-half) appear on the red hits collection! No other album session comes even close!

 

To learn more about Bruce Spizer and his remarkable Beatles Album Series, including the new book, The Beatles Finally Let it Be, CLICK HERE

 

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