Beatles/Rubber Soul Recording Sessions Vol.2

The Rolling Stones, who were conscious of the Beatles, found a way out in black music ranging from blues to soul. Needless to say, the members of the Stones are white. Black people around the world ridiculed the Stones as “plastic soul,” or in other words, fake black music. The anthology also includes Paul muttering “Plastic Soul” after “I’m Down.” This was recognized among the members as the working title of the album “Rubber Soul” during production. As expected, he was hesitant to use a discriminatory word that ridicules others as a title, so he called it “Rubber Soul,” referring to the rubber soles of his shoes. This is, so to speak, a play on words by the Beatles. The album cover features a photo taken by Robert Freeman in John’s garden. When they made a slide of the photograph they had taken and showed it to the Beatles, the slide machine happened to tilt and the photograph became distorted. The photo was deliberately distorted and used on the album jacket because the condition was interesting. This work is the title that is the culmination of the studio sessions for “Rubber Soul.” The Beatles were already locally famous in their hometown of Liverpool before their debut, and since their debut in 1962, they have taken Britain and Europe by storm in 1963, and as soon as 1964 has begun, they have reached No. 1 in the U.S. with “I Want to Hold You”. In a short period of time, he quickly became a worldwide star. During that time, he was extremely busy, making numerous TV and radio appearances for promotion, and also performing live shows. Their first visit to the United States in February 1964 stirred up a sense of hunger among their fans with only two live performances and an appearance on the Ed Sullivan Show, and they went on a long-awaited US tour in the summer. Furthermore, they also had to shoot a movie during that time, making me wonder where they had the time to make an album. The Beatles’ albums also initially reflected strong oldies influences. Perhaps if the Beatles had disbanded after “For Sale,” they would have been recognized as an oldies band later on. However, after “Help,” her artistry gradually became more highly regarded than her idol quality, and continues to this day. In the early days, John’s talent blossomed quickly, and “A Hard Day’s Night” is a masterpiece that can be said to be John’s exclusive work, full of John’s charm. It was probably after “The Help” that Paul began to develop his talent. Not to mention “Sgt. Pepper’s” and “Abbey Road,” Paul held the musical leadership of the late Beatles. During that transitional period, John and Paul competed for the first time with “Rubber Soul,” and “Revolver” was an album in which John and Paul were completely reversed. It can be said that this slight shift in the blooming period of talent, with John from early to mid-term and Paul from mid-to-late, allowed the Beatles to reign as top runners for a long time throughout the 1960s, leading to their acclaim in later generations. In this way, the Beatles’ sixth album, “Rubber Soul,” can be said to be a masterpiece from an era in which the talents of John and Paul were on par with each other. Released in December 1965. The album was produced in just over a month after the band’s second American tour, in time for the Christmas sales season. However, there is not even the slightest hint of such hecticism, and the album gives a very calm and calm impression. What’s even more noteworthy is that this album is not old rock’n’roll. The array of beautiful songs is enough to show that the Beatles are more than just a rock band, and it’s no wonder that Brian Wilson was shocked when he heard this album.It’s a highly artistic masterpiece. I am proud of my degree. This work is a recording of the recording session for “Rubber Soul”. [Where Are You?] This is the famous session of “I’m Looking Through You” from “The Sessions,” which has been known for many outtakes since ancient times. Take 1 creates an atmosphere of the song by adding ups and downs to the melody according to the monotonous rhythm. Although it is impossible to dispel the impression that it is quite unfinished, Paul’s calm vocals suggest that this is a demo sound source. Paul also performs this song in solo concerts. All outtakes of this song, including the 1983 Abbey Road Show, John Barrett, Sessions, and Anthology, are based on this take 1. The ending is hilarious, with John screaming in a crazy voice. Take 4 of track 8 has the intro redone twice. The arrangement is exactly between Take 1 and the final version. [In My Life] This is not only a masterpiece by John, but also one of the Beatles’ representative songs. It is used in the opening scene of the anthology along with the lyrics. Although the song was never performed on stage during the Beatles era, George performed it on the 1974 US tour with a significantly different arrangement. It is widely accepted as John’s song, but Paul insists that it is his own song and that John is mistaken. In any case, there is no doubt that it is an important masterpiece for the Beatles. Recording took place on October 18th. Disc 5 track 16 is take 3. The reason why the vocal track is closer to the right is probably because the left track was left open for dubbing. The interlude is unfinished and played lightly on the guitar. This song is highly praised for its interlude, which George Martin was in charge of, and it is the key part of “In My Life”, along with the idea that it was recorded at twice the speed instead of the normal speed. The recording date was changed to October 22nd, and the previously unfinished interlude was started. Track 17 has a very interesting piano solo that is completely different from the one that was used. It is played on an organ similar to Procol Harum, and is no more than a study, but it can be said that this was the day when the direction was decided to have the interlude performed on the keyboard rather than the guitar. Track 18 is a piano interlude study. Additionally, track 19 doubles the speed of the piano to create a harpsichord-like sound. [Wait] It’s a quiet song that doesn’t get talked about much, and it’s a unique song among “Rubber Soul.” In fact, it was a song prepared for the album “Help,” but it was scrapped at the time. It was decided that there were not enough songs on “Rubber Soul” on the last day of recording, and there was no time to create new songs in time for the Christmas sales season, so this song was revived in a hurry. Disc 5 track 25 is take 4, but this is the only recording on June 17, 1965. The Beatles decided to complete the song by dubbing it based on this recording. Track 26 features vocals, track 27 features pedal-adjusted guitar, and track 28 features dubbed tambourine and maracas, alleviating the discrepancy from other songs recorded at different times. [If You Fall in Love] This is George’s only vocal song sung at the Budokan performance in 1966, and one of George’s representative songs from the Beatles era, which was also performed at the Japan performance in 1991. The sparkling guitar tone, light tempo, and bright melody give it the feel of being a hit. At the time, it was not released as a single due to the dynamics within the band, but instead it was covered and cut as a single by the Hollies. In terms of sales, it ended in a crushing defeat, and George said he was dissatisfied. Recording took place on October 18th. First of all, the first disc 5 track 31 is Take 1, a basic track that starts with George’s count. No outtakes have been discovered for this song, and here vocals, tampering, etc. are recorded from the multi-track. [Cheating Girl] It’s common for an album to end with a grand closing song, but the last song on Rubber Soul was “Run For Your Life,” which John describes as a “busy job.” John himself did not rate the song very highly, and stated that he had originally planned to have George sing it. Elements that hint at a chore can also be seen in the parts where the lyrics are borrowed directly from Elvis’ “Baby Let’s Play House.” Disc 6 track 1 is take 1. However, the performance is not included, only George Martin’s announcement and the sound of the guitar before the performance. Track 2 is take 5. John’s vocal, which is deeply echoed, is a single track, and there is no chorus at all, and it is John’s fresh solo singing. Track 5 shows the Beatles during recording. John is giving instructions to each member regarding the performance. It’s funny how Paul responds in an odd voice to John’s “Got it, boys?” with “Got it, Johnny.” [12-Bar Original] An instrumental song recorded during the Rubber Soul sessions. The song had always been unreleased, but was released for the first time in the anthology. Credit goes to Lennon, McCartney, Harrison, and Starkey. At the time, John said in a radio interview that there was an unreleased Beatles song called “Some Lousy 12 Bar.” Disc 6 track 10 is a rehearsal of the same song. A strange organ comes to the fore, making it sound like a completely different song. Track 1 of Track 11 is properly announced and the performance begins, but as soon as the song starts, John apologizes for the mistake and interrupts the song, saying, “Sorry! Sorry!” And take 2 begins with Paul’s high count. The song’s structure, in which solos are layered one after another in time with the rhythm, is not suitable for a Beatles release. It was probably recorded with some intention, but it was probably not intended to be released. [ALTERNATE MIXES & WORLDWIDE VARIATIONS] Because the era of Beatles albums was slow, it is known that there are many different mixes in different countries around the world. The final disc is a compilation of these different mixes from different countries around the world. If you listen to them side by side like this, you will be surprised at how different they are even though they are the same song. DISC FIVE [I’M LOOKING THROUGH YOU] October 24, 1965 01. Take 1 BONUS 02. Take 1 “Abbey Road Show” Mix 03. Take 1 “John Barrett” Mix 04. Take 1 “1,2,3,4 Early Sessions” Mix 05. Take 1 “Sessions” Mix 06. Take 1 “Anthology” Mix 07. Take 1 Monitor Mix November 10, 1965 Re-Make 08. Take 4 November 11, 1965 09. Guitar SI (multitrack) 10. Vocals SI + Extra Guitar (multitrack) 11. Take 4 unedited full mix November 15, 1965 12. RM 13. RS US Mix 14. RS US DEXTERIZED Echo Mix [IN MY LIFE] October 18, 1965 15. Studio chat from Take 2 16. Take 3 October 22, 1965 17. Early Mix w/different piano 18. Piano original speed 19. Piano double speed October 26, 1965 20. RS BONUS 21. RS US DEXTERIZED Echo Mix MULTITRACKS 22. Instrumental 23. Single Vocal Track 24. Double Tracking Vocals [WAIT] June 17, 1965 25. Take 4 November 11, 1965 26. Double tracked vocals (multitrack) 27. Pedal Guitar SI (multitrack) 28. Tambourine and Maracas SI (multitrack) November 15, 1965 29 . RS BONUS 30. RS US DEXTERIZED Echo Mix [IF I NEEDED SOMEONE] October 18, 1965 31. Take 1 w/Guitar SI (multitrack) 32. Vocals (multitrack) 33. Tambourine SI (multitrack) 34. Rough Mono Mix ( partial) October 26, 1965 35. RS DISC SIX [RUN FOR YOUR LIFE] October 12, 1965 01. Take 1 (partial) 02. Take 5 w/original live vocal 03. Take 5 Guitar SI (multitrack) 04. Rough Vocal overdub w/dif. Lines 05. Studio Chat 06. Final vocal tracks (multitrack) November 9, 1965 07. RM November 10, 1965 08. RS BONUS 09. RS US DEXTERIZED Echo Mix [12-BAR ORIGINAL] November 4, 1965 10. Rehearsal 11. Take 1-breakdown 12. Take 2 November 30, 1965 13. Mono Mix 14. Acetate BONUS 15. Take 2 Anthology Mix ALTERNATE MIXES AND WORLDWIDE VARIATIONS [DAY TRIPPER] 16. US Jukebox 1988 Restored Stereo Mix [WE CAN WORK IT OUT】17. Japanese Odeon EP duophonic 【DRIVE MY CAR】18. US “Rock and Roll Music” LP Reverse Stereo 【NORGEGIAN WOOD】19. RS US DEXTERIZED Echo Mix 20. Japanese “Ballads” LP Mix 【NOWHERE MAN 】21. Original Film Mix【THINK FOR YOURSELF】22. RS US DEXTERIZED Echo Mix【THE WORD】23. RS US DEXTERIZED Echo Mix【MICHELLE】24. UK “Love Songs” Center Mix【WHAT GOES ON】25. US “ Yesterday and Today” Duophonic 【GIRL】26. UK “Love Songs” Center Mix 27. “Itunes Love” Mix【IN MY LIFE】28. UK “Love Songs” Center Mix 29. “Imagine” Film Mix