Tis Better To Have Loved and Lost Than To Never Loved At All. Alfred Lord Tennyson – Part 8

To think, the Beatles incredible and clever creation on their eighth album materialized by the road manager requesting salt and pepper for his meal. That’s right, friends, Mal Evans, seated next to Paul on the 1966 return flight from America, simply requested the two spices for his onboard dinner, and McCartney thought he heard his large, mild-mannered friend say, “Sargent Pepper.” An easy thing to do while exhausted, and at that point, the imagination juices took off almost at the same rate as the aircraft. Sgt. Pepper’s Lonely Hearts Club Band became the first ever concept album. Unfortunately, most tracks wander away from men and women falling in love, but I promise you, the musical treasures we pass over today (Sgt. Pepper’s Lonely Hearts Club Band, Lucy In The Sky With Diamonds, Fixing A Hole, She’s Leaving Home, Being For The Benefit Of Mr. Kite, Within Without You, Good Morning Good Morning, Reprise, and A Day In The Life) shall receive their due respect and praise as soon as week fifteen completes this current unrequited love song series. After that my new series happily unfolds all the Beatles tunes about things irrelevant to boy/girl love. 

8^th LP – Sgt. Pepper     (Mutual Love / 4 vs. One-Sided Love / 0 )

Track 2 – With A Little Help From My Friends. I chose this song purely from the lyrics, “Would you believe in a love at first sight?” “Yes, I’m certain it happens all the time.” The wonderful act happened to me, and I’m a much better man for the blessing ever since. I grade this tune mutual love. Background Fun Facts: [As 1966 came close to an end, December 9^th launched a Beatles Oldies but Goodies LP direct from the vault of EMI, which triggered a mind blown rumor the lads had faltered on demand. News spread their musical reign vanished, washed up, dried out and had nothing more to give. Part of the gossip pointed blame toward all termination with touring. So, with the stick to their guns’ policy of no more concerts, the Beatles answered the call from Manager Brian Epstein and producer George Martin to write and record music for a new album. Enter Sgt. Pepper. Through months of hard work and sealed lips against the media, well-nigh every song was complete and fashioned around a decent arrangement, except for one, needed to spotlight drummer, Richie. Paul knew he had to whip up some playful ditty immersed in a children’s style chorus for Ringo that followed the fascination formula done so well on Yellow Submarine––and what a masterpiece he established. McCartney must have swallowed the concept of how “Less is More” because the melody of each verse took only five notes––a task Ringo appreciated to no end––huh, not counting the high closing note their percussionist fussed and complained about often that he couldn’t reach it without adding an awful strain to his already inferior and weak vocal. Well, as Paul’s grandfather in A Hard Day’s Night would say, “Poor little Richard, have you no natural resources of your own?”, Ringo dreaded every ounce of his effort to climb the melodic scale and belt out the horrendous top note. But he did it after great encouragement and a few tips from Paul. However, that high note wasn’t the first major complaint the shortest member with the deepest voice had over this song. Mr. Starr brought an even larger protest to the board room. His legitimate gripe was the outlandish, in his opinion, lyric, by which he asserted, was asking for assault and battery to his face, either on the stage or just out and about in public. You see, In the beginning, this clever song had the first verse sound off with a question. John liked Paul’s idea of having a question open the tune, and in reply to Paul’s inquiry, John let his tongue spill out the obvious people wish to do when they hear rubbish. Read the line Ringo refused to sing, (What would you think if I sang out of tune?  Would you throw rotten tomatoes at me?) Ringo remembers it as written, (What would you do if I sang out of tune, would you stand up and throw tomatoes at me.) The Beatles’ best film actor understood he wasn’t a singer and realized his featured tracks on previous albums had areas where they drifted off key. But he wasn’t keen on becoming an exposed target, based on a thought provoked invitation. Hence, the line was changed.

How did the title start with Bad Finger Boogie? Before Paul showed the melody to his composing partner, John had slightly damaged his forefinger and felt much too sore to play guitar or keyboard. After he had arrived at McCartney’s home, he used his middle finger to ka-plunk the melody on the piano Paul had taught him for Ringo to sing. It was at that point the awkward sensation and appearance in using the middle finger birthed the silly name. I can’t say how long John’s finger caused him pain, but I know that the last time he used his guitar was while recording Getting Better on March 9, 1967. Twenty days later the lads laid down ten takes inside the studio for Ringo’s, With A Little Help From My Friends, and the only instrument John played was the cowbell.

A final side note, sad as it is, this song happened to be little Sean’s favorite just before his famous father perished, gunned down at the Dakota in New York City. However, it’s by far my favorite Ringo lead vocal song, and when I perform the tune at restaurants or assisted living facilities, several individuals sing along and enjoy the happy-go-lucky feeling that dominates the room when played. I pray this simple fact brings a little comfort over John’s family members.

We all can benefit with a little help from our friends.]  (This article originally appeared in Mr. Maeder’s Beatlemaniac Blog on August 13, 2016)

Track 4 – Getting Better. This song was a hard decision, but since the singer admits he ‘USED’ to be cruel to his woman with physical abuse and kept her apart from things she loved, he realized he was mean so he changed and now is doing the best he can to treat her with kindness and respect. The line came from John, and he confessed it fit his shameful, inexcusable lifestyle first with Cynthia, and later over guilty regret, his reformed and devoted lifestyle with Yoko. So, I rate this song as mutual love.
Background Fun Facts: Written March 8, 1967. The title mirrored the first day of Spring while the sun made a rare visit to town. McCartney had plans to write another song for Sgt. Pepper and while waiting for John, Hunter Davies, author of the official biography, “The Beatles,” was spending a great deal of personal time alongside the famous musicians. The clear sky triggered a simple comment about the weather from Paul, “It’s Getting Better. The very same comment Jimmy Nicol uttered when asked by John and Paul how he was getting on after every concert he stood in for Ringo during Mr. Starr’s tonsillitis recovery.

Recorded on March 9 after two hours of teaching the song to George and Ringo then deciding which instruments to use. Paul chose his 64 Rickenbacker Bass, John picked the 65 Epiphone Casino ES-230TD, George strapped on his 61 Sonic Blue Fender Strap, and Ringo banged away on his 64 Ludwig Super Classic Black Oyster Pearl set. George Martin sat in plucking strings attached to a Steinway Baby Grand piano rather than pressing the keys. Next, the band played the song roughly ten times without vocals as a pre-rehearsal before committed to recording, although the tape machines were rolling all the while. It took seven takes until all felt pleased they had captured the rhythm track. Martin added more keyboard sounds using a Miniature Harpsichord plus a Hohner Pianet.  The next night, Harrison added the tamboura Indian instrument to the third verse while Ringo added taps with the hi-hat cymbals in all the verses. Paul replayed his bass part with much more reverb than before.  On March 21, overdubbing began with vocals, but because John had taken LSD, singing at this time resulted in a mess. Two days later, vocals shined with corresponding handclap accompaniment. Ringo included a conga drum bit, and Paul added another guitar sound. Released one month before my fifteenth birthday, I remember this song winning first place as to my favorite tune on the Pepper album on the pure premise of the guitar activity.

Track 8 – Within You Without You. A song that caters to sharing love with our fellow man, but not a romance type of love. Let’s move on.

Track 9 – When I’m Sixty-Four. A mutual love song by Paul based on the lyrical portrayal the singer questions his current lady love if she will STILL send him valentine’s cards, and STILL need him, STILL feed him when he’s sixty-four. Background Fun Facts: Written in 1956 as a tongue in cheek number, influenced by his father, fourteen- year-old Paul envisioned his new song had everything Frank Sinatra wanted in a brand new great little ditty. Recorded on Dec 6, 1966, by three Beatles in two takes for the rhythm track with John on guitar, Paul on bass, and Ringo behind the drums. Overdubs included Paul adding a piano. Two days later, Paul returned to the studio and recorded his lead vocal. On December 20, John, Paul, and George refined harmony parts and added them to the bridge while Ringo contributed orchestral bells onto the same bridge sections. Something was still needed to date the song around the roaring twenties. Paul confided in producer Martin that he wanted a real authentic rootie-tootie sound from the days of dear old dad, and George suggested clarinets. The next day two clarinets plus a bass clarinet added a great deal of nostalgic flavor playing the notes Martin put down on sheet music per McCartney’s guidance. In the end, Paul requested to have the final mix run a bit faster than normal so as to make his voice appear more youthful (compatible to how sounded in 1956).  

Track 10 – Lovely Rita. A mutual love song by Paul based on the lyric portrayal the singer hails. “nothing can come between him and Rita, plus she picks up the dinner tab, ha-ha. Background Fun Facts: Written February 1967. While in America, Paul heard traffic wardens were called meter maids, and to him, that conjured up sexual thoughts, such as a willing French-Maid, or a milkmaid, and because meter maids had official authorities, it became humorous to the famous songwriter. His first plan was to rhyme a female name with meter, and out came Rita. Back in the spring of 1967, the very first female ticket officer assigned to the St. John’s Wood area where Paul lived did give him a parking ticket. Her name was Meta Davies, however, ‘Lovely Rita’ initiated its recording and overdubs as early as February 23. The rhythm track consisted of John and George playing acoustic guitars, Paul on bass, and Ringo on drums. Take eight won. Next, Paul contributed his bass part while the other three slipped out the door and headed home. The next day, Paul laid down his lead vocal track, and for the following ten days,  the band concentrated on ‘Lucy in the Sky With Diamonds.’  When everyone returned to Rita, on March 7, harmony vocals took shape plus some outrages humming by the four chaps using a comb lined with scratchy toilet paper as a mock kazoo. The final overdub, recorded on March 21, brought George Martin to the piano for some honky-tonk style melodies used in the instrumental solo after Harrison couldn’t come to an agreeable guitar part.  

A side note of personalized sharing. The first time I played Sgt. Pepper was inside my bedroom on a small portable record player, and because of two younger sisters, I always kept my door shut. As Lovely Rita closed in on the final twenty seconds or so, John repeats the word, “ahh, ahh, ahh,” some distance away from the microphone. I thought for sure those sounds came from my dad standing at the front of the hallway calling me, Don, Don, Don. I opened the door and questioned, “Did you call me?” Of course, both mom and dad assured they hadn’t.

How refreshing not one tune mentions heartbreak. And there you have Sgt. Pepper’s love songs released June 1, 1967. Documentation can verify the Beatles spent more than 400 hours inside the studio to bring us a masterpiece craft from their imagination. A far cry from the ten hours necessary to sew up their first released LP just four years earlier.

1967 was a grand year for me––I graduated from Jr. High School, sat in the Dodger’s Dugout for my birthday and got all the players autographs, and joined my dad’s band strictly to play rock songs for the patrons making decent easy money for a fifteen-year-old.

Next week, part 8 takes us all on the Magical Mystery Tour, don’t be late.  

Tis Better To Have Loved and Lost Than To Never Loved At All. Alfred Lord Tennyson – Part 7

Eight months. A long span for teenagers to tolerate with relish anticipation seeking their favorite pop stars latest and greatest LP. That’s how long the duration kept our entire world in suspense wondering when record shops might exchange new Beatles goods for money, not counting the June released single, Paperback Writer/Rain. Inside the UK, though, a temporary 30-day fix lessened the time lapse agony by Parlophone’s clever win-win plan in sending Revolvers’ 14 tracks to radio stations during July. This gesture received tons and tons of airplay, and in turn, come August 5, Revolver sold like crazy, locked in as the #1 Album for seven weeks, and remained in the charts an additional twenty-seven weeks. In America, the album held the #1 spot for six of a total seventy-seven-week span on the Billboard charts. Not bad for their seventh effort.

7^th LP – Revolver.   (Mutual Love / 3 vs. One-sided Love / 1)

Track 1: – Taxman. The title says it all. . . In lieu of seventy percent of this week’s compositions side-step from themes linked with love, moving into uncharted boundaries throughout numerous topics, once this series finalizes with “Past Masters Volume Two,” a new series shall commence revealing Background Fun Facts on material sung about themes unrelated to love.

Track 2: – Elenore Rigby. Lonely people, neither mutual or one-sided, but from where do they come?

Track 3: – I’m Only Sleeping.  Nothing to do with love.

Track 4 – Love You To. A mutual love song by George, based on the lyric portrayal the singer tells his lady to love him while she can before he is a dead man. Also, he suggests they make love all day long, and right at the end of the song he offers to make love to her if she wants him to. Background Fun Facts: Written Between March and April 1966, specifically for the sitar, and as a newlywed hitched to his beautiful new bride, Pattie. David Crosby and Roger MC Guinn introduced George to a Ravi Shankar demo made at the same studio the Byrds’ used in 1964. George grew mesmerized, later admitting, “it is the only great music now, and it makes Western three-or-four-beat type stuff seem somehow dead.” John didn’t participate at all on this track but admired the new sound calling it amazing and cool. Recorded on April 11, using the name, “Granny Smith” as a working title. Before any mics were turned on, or the four-track tape machine spun a new roll, three-and-a-half hours kept everyone in conference over how best to assemble this new type of production. A plan using three takes to build the rhythm track seemed to solve all doubts. Take one recorded George singing and playing acoustic guitar as Paul provided another vocal. Another take captured George adding his sitar section, and last, a group of Asian Society musicians completed the feat, practically burying the acoustic guitar in the process. Overdubs consisted of Paul on bass, which his sound ran into the same trouble as the acoustic, plus Harrison plugged his electric guitar into the same Fuzzbox used on ‘Think For Yourself.’ After a day rest from the studio, fresh overdubs had George double-track his vocal, Ringo worked in a tambourine bit, and Paul added high harmonies. Both mono and stereo mix incorporated artificial double-tracking onto the sitar instruments, and the mono version received an extra eight seconds on the fade out.

Track 5 – Here, There And Everywhere. A mutual love song by Paul, based on the lyric portray the singer needs his lady love always near to lead a better life, and they both agree that love never dies. Background Fun Facts: Written June 1966, with a cup of tea poolside at Lennon’s Kenwood home waiting for John to arouse from a deep sleep. The melody came through a profound appreciation over Brian Wilson’s new Pet Sounds arrangements. By the time the homeowner partner awakened, Paul had the song pert near completed after a few added lyrics from Mr. Sleepyhead. Later that week, Paul still sought to replace a line in a verse and inquired ideas from Mal Evans and Neil Aspinall. Mal suggested, “watching her eyes, hoping I’m always there,” and the phrase stuck like glue, becoming one of Paul’s favorite original compositions. Recorded on June 16 needing 9 takes for the rhythm track that had Paul playing chords on an Epiphone electric guitar, Ringo behind the drums, and George donating an electric guitar solo on his Blue Fender Strat at the bridge sections. Overdubs included three-part harmonies recorded twice, George double-tracked his guitar solo, Paul added bass, and afterward, laid down his lead vocal. The next evening, Paul double-tracked his lead vocal. Mono and stereo mixes sound quite the same, except for stereo, each channel received a separate lead vocal from Paul, the left channel captured the original voice, and the right channel captured the double-tracked vocal done the second night.  

Track 6 – Yellow Submarine. Again, this tune misses the theme as a love song.

Track 7 – She Said She Said. Another piece off target on love.

Track 8 – Good Day Sunshine. A mutual love song by Paul, based on the lyric portrayal the singer happily chants, “I love her, and she’s loving me,” and he is so proud to know she is his girl. Background Fun Facts:  Written between May and June 1966, however, the heart of the song took one day, composed at John’s home on a sunny day. John threw in a line or two, but that’s about all. Influenced by the Loving Spoonful’s tune, Daydream, helped create Paul’s melody and lyrics. Recorded June, 8 and improperly titled, ‘A Good Day’s Sunshine’ scribbled on the tape box by one of the engineers. Three takes finally turned up a keeper rhythm track, and they could have bypassed the last two. Take one consisting of Paul on piano, Ringo on drums, and George playing his 65 Burns Nu-Sonic Bass Guitar. Overdubs included George Martin playing the piano solo in the middle; Paul added his lead vocal while on another track, John and George added harmony vocals. The next day, Ringo added a new full set drum track to supplement Mr. Star’s contribution yesterday. John, Paul, and George taped extra harmonies, Paul threw in another piano part, all four lads stood around an opened mic for on tempo handclaps, and Ringo completed the set with a tambourine bit. 

Track 9 – And Your Bird Can Sing. Meaningless fake wisdom and off target. Let’s move on.

Track 10 – For No One. A one-sided love song by Paul, based on the lyric portrayal the singer comes to the realization his woman no longer needs him, he stays home, but she goes out, telling him she once knew someone yet now he’s gone and all he has is a reminder their love should have lasted years. Background Fun Facts: Written in March 1966 while on a skiing vacation with Jane Asher in Klosters, Switzerland. The famous couple took brief residency in a chalet not far from town, and of all places, Paul wrote what was called at the time, “Why Did It Die,” inside the rental home’s bathroom. He liked the acoustics. Although John provided zero assistance, he confessed in a 1972 interview this song and also “Here, There and Everywhere were two of his favorite songs thought up by Paul. Recording began on May 9 using just half of the Beatles, Paul on piano and Ringo on drums sticking mostly to taps on the hi-hat. After the tenth try, they reached a keeper rhythm track then added the following overdubs––Paul’s bass, a Clavichord brought from George Martin’s home, played by Paul, and tambourine from Ringo. About a week later, Paul recorded his lead vocal. The tune purposely had an empty middle leaving room for an instrumental solo. Paul had always liked the sounds from a French Horn and counseled with Martin which steps were needed to attain one. Martin knew the best of them, and in three days, Alan Civil from the BBC Symphony Orchestra showed up and received a hand written sheet of music from Martin as to which notes be played. As a thank you for his service, he received fifty pounds and name credit recognition on the album’s back cover side. The entire 14 tracks on Revolver never established an opportunity for widespread appeal on a Beatles live stage performance, however, Paul revived the song on his 2004 tour dates and the French Horn solo surfaced through the hands of Paul Wickens playing the synthesizer.  

Track 11 – Doctor Robert. Again, misses the theme point on love.

Track 12 – I Want To Tell You. About inabilities to express thoughts in words. Moving on.

Track 13 ­– Got To Get You Into My Life. A Mutual love song by Paul, based on the lyric portrayal the singer upon first glance tells his new love interest he needs her every single day of his life and she doesn’t push him away or toy with his abrupt openness, she simply accepts his open arms and says we’ll be together every day. WRONG! The object of Paul’s affection is not a woman; it’s marijuana. Let’s move on.

Track 14 – Tomorrow Never Knows.  Off target, about LSD trips instead of love.

In closing, this album truly remains as one of the finest ever recorded, a top favorite for both George and Ringo, but for our purposes centered around the subject of love, it sadly wavered into almost everything except affection for the opposite sex, but so what. I love this album regardless.

Next week unleashes, even more, examples how the Beatles pushed the envelope and opened a whole new concept, classic rock. Join me as I unravel unrequited love songs inside the eighth album packaging of Sgt. Pepper’s Lonely Hearts Club Band.

Tis Better To Have Loved And Lost Than To Never Loved At All. Alfred Lord Tennyson –– Part 6b

Thank you all for returning to the second half of Rubber Soul’s unrequited love songs series. Today we move right into side 2, so sit back and enjoy the journey.

6th LP – Rubber Soul-side 2   (Mutual Love / 3 vs. One-sided Love / 2)

Track 8 – What Goes On. A one-sided love song by John, Paul, and Ringo, based on the lyric portrayal the singer feels torn apart seeing his honey with another guy, and hearing all her lies as she treats him with unkindness breaking his heart. Background Fun Facts: Mostly written in 1957 by John as a Quarryman. Paul revised the bridge and added lyrics with Ringo contributing about five words in 1965. Recorded on November 4, 1965, in one take with each Beatle playing his regular standard instrument for the rhythm track. Overdubs pushed Ringo to the hot mic for lead vocal, harmonies from John and Paul, and a tiny spurt lead guitar ditty at the song’s ending from George. Mixing the mono version, engineers forgot to bring up the volume on the track given to the overdubbed guitar George laid at the finale. In addition, the stereo version not only includes the spurt, but the level on that track apparently was also left up so that Ringo’s chatter, off mic mumbling lyrics not meant to appear, slipped through onto the released album. 

Track 9 – Girl. A lopsided mutual love song with bumps in the road by John, based on the lyric portrayal the singer offers to tell a story all about a girl he wants so much it makes him sorry, on account many times he has tried so hard to leave her but the endeavor makes her cry. So, she promises him the world if he stays and he believes her but doesn’t know why. Because whenever friends come to visit, she puts him down making him feel like a fool. Background Fun Facts: Written November 1965 inside John’s Kenwood home with Paul adding bits of melody to the music on a down to the wire deadline to include this as the last recorded song on Rubber Soul. The lyrics were already complete and only needed a few chord shaping tweaks. An easy rhythm track featuring only three Beatles had finished in just two takes. John on acoustic, Paul on bass, and Ringo using brushes on drums. Overdubs began with John’s lead vocal and then added the heavy breath on another track sent through a special compressor by Martin to add intimacy. Next, George added three separate guitar parts, two with a 12-string acoustic and one with the fuzzbox Paul used on ‘Think For Yourself’ connected to his electric, but later was removed from the mix. Paul and George added background vocals and the naughty tit-tits onto the bridge telling George Martin they were singing dit-dits. John added a double-tracked vocal, and Ringo overdubbed a bit of cymbal pizazz onto the fourth verse closing out the song. When finished the clock read 4:00 am, and still they all stayed three more hours to put final touches on ‘Wait’ and ‘I’m Looking Through You.' Both mono and stereo sounds identical other than the separation of left and right channels performed on the stereo mix.

Track 10 – I’m Looking Through You. A one-sided love song by Paul based on the lyric portrayal the singer questions his dear one to tell him why she doesn’t treat him right, love has a nasty habit of disappearing overnight.  Background Fun Facts: Written October 1965 inside the attic bedroom on Wimpole Street after a heated argument between Paul and Jane Asher over her commitment to pursuing acting assignments out of town and his one-night stands with other girls. Inside the Abbey Road studio, four different attempts, on as many different days, Paul and his mates tried to record three diverse versions of ‘I’m Looking Through You.’ The project amid the lengthy trial and error totaled 18 hours, more consuming than any other Beatles song, ever. The final choice that made track 10 was recorded on November 10, 1965. Familiarity with the song captured a perfect rhythm track in just one take using John on acoustic, Paul on bass, Ringo on drums, and George on tambourine.  Overdubs took place the next evening and included Paul’s lead vocal, John’s harmony vocal, George on electric guitar, Paul added the fast pace electric guitar solo at the end of each verse while Ringo thrusts a double blast G major chord on the Hammond organ. Other overdubs have Paul’s double-tracked lead vocal, and finger taps supplied by Ringo on a pack of matches. A well know blooper false start appears only on the stereo mix sent to other countries––George Martin assumed foreign engineers would edit out the flub while preparing their new masters for commercial release.

Track 11 – In My Life. As great as this song is, the theme ponders childhood memories and male bonding relationships mostly in tribute to Pete Shotton and Stuart Sutcliffe. Therefore, we will move on.

Track 12 – Wait. A mutual love song by Paul, based on the lyric portrayal the singer and his lady love have been apart missing each other, but now he’s returning home, and both will forget the tears they’ve cried once they are in each other’s arms. Background Fun Facts: Written between February and March 1965 inside a beautiful rented home near Cable Beach, a shoreline along the city of New Providence, Bahamas. The stanzas are in total relevance to McCartney’s real life situation while on a business trip filming location scenes for the feature film Help, and at the same time, missing the affections from Jane Asher. Recorded on June 17, 1965, as a filler for the Help album. The rhythm track on take four received the green light and consisted of John on his 1964 Rickenbacker, George on his Fender Strat plugged into the volume pedal, Paul on his 1963 Hofner bass, and Ringo on his Ludwig 1964 Oyster Pearl drum set. Overdubs captured John and Paul’s vocals, this time without double-tracking. The next day, George Martin felt the tune just wasn’t right and shelved the tape for another time. Almost five months later, November 11, Martin spooled up the original Wait version desperate to fulfill one more slot on the Rubber Soul album. New overdubs involved Paul adding a double-track vocal during the bridge plus a third-part harmony onto the final two verses. George added another rhythm guitar plus more volume pedal flair. Ringo received space on two extra tracks playing tambourine, and then maracas. John turned down the invitation to double-track his vocal. Mono and stereo mixes reveal little if any difference.

Track 13 – If I Needed Someone. An aloof mutual love song by George, based on the singer assuming if he needed someone and if he had more time, he takes a guess she would be the one he’s thinking of for love. So, if she leaves her number in plain sight, maybe she will get a phone call. Background Fun Facts: Written between August thru October 1965 and greatly inspired by a new song released from The Byrds called, ‘The Bells Of Rhymney, that formulated a catchy melody orbiting the D chord by means of changing single finger moves on the strings. Recorded on November 16 and nabbing the rhythm track on its first take. This track had Geroge using a brand new Rickenbacker 12-string with a capo on the fifth fret, John played rhythm on his 1961 Sonic Blue Fender Strat, Paul chose his Rickenbacker bass, and Ringo thumped out the tempo on his 1965 Ludwig Super Class Black Oyster Pearl drum set. Some insist Martin played the harmonium keyboard but likely edited out from the actual release. Overdubs the next day included George laying down his lead vocal then double-tracked it again, John and Paul added double-tracked harmonies, George punched in more 12-string guitar flair, still with a capo on the fifth fret while Ringo shook and tapped a tambourine. A great song.

Track 14 –Run For Your Life. In the event that I am such a hopeless romantic, and because this song neither promotes mutual love nor one-sided love, only male chauvinist domination on the part of the singer, I’m passing over the tune out of respect to my convictions. Sorry.                              

All right then, Rubber Soul ends up producing double the amount of unrequited love songs, Six compared to 3 mutual, a revelation to prove my point it's better to have loved and lost than never to feel the power love can bring.

Join me next Saturday, where we dive into the phenomenal LP, Revolver. A ground-breaking advancement dominating the 1966 pop scene. Please post any comments or corrections that you wish, and I’ll do my best to respond accordingly. Thanks, friends.    

Tis Better To Have Loved and Lost Than To Never Loved At All. Alfred Lord Tennyson – Part 6a

Well now, there was no way in my mind the new year of 2017 could turn so quickly for the better as early as six hours before New Year’s Day. That’s right, last week I predicted 2017 will be my best year ever thanks to my best friends, making life much more special. What happened? The owner/manager of a Large Facebook Group found this very blog you're reading and asked me to join his team. I am now a contributing editor with a daily blog entry for BEATLES FOREVER Facebook Page. (Use this link: https://www.facebook.com/BeatlesJohnPaulGeorgeRingoForever/  You heard right, and I’m honored and thrilled. Therefore, as of today, my unrequited love song series per other Beatles albums shall arrive weekly as a two fragment split post, which will highlight a single side of the LP, examining side 1 and after seven days, side 2.  

All right, here we are in week 6, and time for Rubber Soul’s side 1 unrequited love songs vs. mutual love songs. The album known as their Unplugged LP hit the market December 3, 1965, on a long list of presales pushing the coveted item to #1 for several weeks. Recorded during a mad dash non-stop four weeks to meet the Christmas rush, sales topped 300,000 in the UK, but the Capitol Records version sold six million through its year-end holiday shopping in America. Not bad.

6th LP – Rubber Soul-side 1  (Mutual Love / 0 vs. One-sided Love / 4)

Track 1: – Drive My Car. Considered not to be a love song at all, but most likely inspired by the scores and scores of American women dying for an interview on the scratch my back, I’ll scratch yours Hollywood producers’ casting couch. Background Fun Facts: Written between September and October 1965 at John’s Kenwood home. Paul had the chords and melody, but his lyrics proved pitiful, such as, “I can give you golden rings, I can give you anything, Baby, I love you.” John snubbed the words labeling them as “crap.” Paul added a Motown style bass line to it in the studio that really drove the tune hard, and he toyed with lines like “drive my car,” and “beep, beep” right then and there. Drive my car had implications of an old blues tag for sex. Recorded on October 13, 1965, during a five-hour-plus session. George remembers how Paul often arrived early after writing a song, and as the others strolled in, Mr. Bass man would tell his mates, “Do this.,” withholding the additional three rock stars any opportunity to come up with something just as brilliant. However, this time, while learning ‘Drive My Car,’ it was George who borrowed the guitar passage off of Otis Redding’s ‘Respect, ’ and Paul copied the guitar lick on bass. John sat out from the rhythm track, and his only involvement included overdubbed vocals. Other overdubs caught Ringo thumping his cowbell, and two tracks picked up a pair of tambourines played differently. Paul added a piano plus a lead guitar solo using a finger slide, and George added a third part harmony to the beep-beeps. Listeners can notice a slight variance of volume and reverb on the cowbell stereo mix compared to mono. Also of interest, the stereo mix captured a few faint adlibbed guitar licks from George on the final verse that shouldn’t have remained. Plus Paul supposedly rehearses for his benefit, the line, “Baby you can drive my car” in the final four-count during his guitar solo, before delivering the phrase directly into the mic. Last but not least, because ‘Drive My Car’ lost a spot on the American issued Rubber Soul, kids from the United States fell victim to a six-month wait before hearing the toe-tapping tune.

Track 2 – Norwegian Wood. A one-sided love song about an actual adulterous affair by John with a female journalist friend, based on the lyric portrayal the singer once had a girl, but quickly corrects himself and admits she used him. Hence, the working title of the song read, ‘This Bird Had Flown.’ Background Fun Facts: Written in October 1965 at John’s Kenwood home with some lyrics and the middle eight measures written by Paul. “We’ve written some funny songs, songs with jokes in the words,” jested Paul, in reference to, “sit anywhere, but there wasn’t a chair.” John pretty much remained open about his affairs but tried his best to keep them hidden from wife, Cynthia, and in order to do this, sings he went off to sleep in the bath when the young lady insisted it was time for bed. After a long rehearsal, the rhythm track consisted of two acoustic guitars, a bass guitar, and Ringo bouncing his sticks on cymbals, which took just one take. Overdubs entailed John’s lead vocal plus double-tracked vocal at the end of every line, Paul’s harmony vocal during the bridge, two separate tracks for George to insert the sitar notes twice, and two tracks used as Ringo added finger cymbals, then maracas. After all that work, the tape was deemed rubbish and left alone for another nine days. With a new arrangement, four takes brought a keeper rhythm track that Ringo included bass drum kicks. Fresh overdubs pretty much followed the old pattern, except Ringo switched to a tambourine and during the bridge, he performed knee slaps next to a hot mic. In the mono mix, a cough from George slipped by on the sitar track just before the words, “so I looked around and I noticed there wasn’t a chair.” Likewise, on the stereo mix, an audible voice instructing George when to cue the sitar part at the tune’s instrumental segment slipped by the control room and made it on the master pressing.

Track 3 – You Won’t See Me. A one-sided love song by Paul, based on the lyric portrayal the singer has had enough not able to contact his lover, losing their time together will cause him to lose his mind if she won’t see him, and when she does, time after time she refuses to listen to his side. Background Fun Facts: Written in Jane Asher’s parents’ home on Wimpole Street between October and November 65. The lyrics came easy in that Jane teamed up with the Bristol Old Vic Live Theater Troup that October and grew immensely involved with her acting career making it sometimes impossible for Paul to stay in touch.  Recorded on November 11, 1965, the absolute deadline target to finish the album in time for Christmas shoppers. Just two takes were required to complete a fine rhythm track. Overdubs included Paul’s lead vocal, and then double-tracked vocal with bits of harmony for added flavor. Next came John and George singing background harmonies while Paul tossed in an elaborate bass guitar arrangement. Ringo tapped a three-beat tempo on the high-hat cymbals during each verse, and on the bridge, he switched to a five-beat tempo again on the high-hat. Then, to help fatten the last verse bringing the song home with a bang, Mal Evans contributed a single note held down on a Hammond Organ for the full duration including the fade-out of which you can hear a couple of hand-claps, possibly directed at Mal for a job well done. Mixing stages differ again at the fade-out where more seconds are added to the mono mix––3:25 play length and 3:22 play length on stereo––making this the longest Beatles track since controlled by George Martin.

Track 4 – Nowhere Man. This song misses the mark as a love song. Therefore, we will move on to track 5.

Track 5 – Think For Yourself. A one-sided love song by George, based on the lyric portrayal the singer speaks his mind about all the lies he hears from the lips he’s been kissing, and glad he finally left her far behind, aware she still can’t comprehend her faults, which will surely cause him more misery. Background Fun Facts: Written between August and November 65 with a working title called, ‘Won’t Be There With You.’ Recorded on November 8, 1965, straight after a lengthy rehearsal period that paid off handsomely by recording the rhythm track in just one take. George played rhythm guitar, Paul on bass, and Ringo worked the steady beat with his drums. Overdubs started with lead and harmony vocals while John had the most trouble finding the notes. Once the vocals scored a victory, all three singers were double-tracked and managed to do their parts again. Next, John added a piece with the Hammond Organ, and Ringo filled in two more tracks using a tambourine, then maracas. Looking for a new sound, and remembering how powerful the dominate hook reaped a fortune for the Rolling Stones with ‘Satisfaction,’ Paul plugged his bass into a fuzz box then mirrored the same bass notes he played on the rhythm track, giving the song a new heavy edge of grit and grime. The mixing board for the mono mix ran through the straight forward step procedure, but for the first time, George Martin sent the lead and harmony vocals to one channel and the double-tracked vocals to the opposite channel during the stereo mix. How odd!

Track 6 – The Word. Again, this song misses the mark as a love song but instead promotes Peace and Harmony throughout the human race. To this day, Ringo echoes peace and love to everyone within the sound of his voice.

Track 7 – Michelle. A one-sided love song by Paul, based on the lyric portrayal the singer loves, needs, and wants a woman who doesn’t speak his language, yet he will try to find a way to share his feelings toward her and hopes for a positive respond. Background Fun Facts: Written strictly as an instrumental in late 1959. Paul wrote this song on his Zenith acoustic and would bring this guitar to parties while pretending to speak French, then play his composition centered around a group of ladies mish mashing sound-a-like phrases a young man from France would sing. Gibberish murmurs close in tone to a Maurice Chevalier style, and nobody knew the wiser, except John. The melody line caught inspiration from a Chet Atkins number titled, ‘Trambone,’ a finger picked tune with a descending pattern on the lowest registered string. In the event the Beatles hoped to offer nothing but original songs for the upcoming album, John suggested his mate try adding lyrics to the long-lost French thing he remembered hearing at parties. So, during a holiday vacation, Paul and Jane Asher trekked off to Portugal for a visit with Muriel Young, a Luxembourg Radio personality. Muriel recalls Paul sitting on her couch trying different lines to match the melody, such as “Goodnight Sweetheart” or “Hello, my dear.” Do you remember Ivan Vaughan, the boy who introduced Paul to John at the church social? Well, by 1965, Ivan married a young lady named Jan who just happened to be a French teacher. Paul inquired how to say “these are words that go together well,” spoken in French. She wrote down the spelling and taught him the pronunciations. Thereafter, it was a utilized keepsake bound for the LP record. Years later, Paul sent Jan an undisclosed financial check, feeling a bit guilty not rewarding her for her part of history. However, the tune wasn’t complete as yet. Paul had no middle bridge and asked John where should the song go after its second verse. John had been listening to Nina Simone’s, ‘I Put a Spell On You,’ and her song had a line that repeats the words, “I love you” four times. John cut it short to three times, but still added a bluesy touch and wrote the bridge. In the studio, November 3, 1965, Michelle ended up as the only song on the Rubber Soul LP requiring more than the console’s four track machine. Track one captured acoustic guitars played by John, George, and Paul, plus Ringo’s drums. Track two seized Paul’s lead vocal. Track three received three-part harmonies from the lads. Track 4 contained the same harmonies from track three, only re-recorded double-tracked. Next, a tape copy was made that combined track three and four onto track three, leaving track four fresh for more overdubs. New track four holds Paul’s bass, another acoustic guitar, and the electric guitar solo played by George but written by George Martin. From the mixing board, the mono version has a slightly longer fade-out and a tad more volume on the drums.

Wow! So far mutual love songs have vanished as the greatest rock group’s lyrics advance away from puppy-love and step toward the signs of the times. Next week, watch for Rubber Soul side 2 and tell your friends. Also, don’t forget each of you may listen to samples of all 14 love songs included on my CD, and Amazon.com’s “Look Inside” feature lets readers preview more than four chapters in my novel, Beatlemaniac. Just click on the MY Shop tab near the upper left corner underneath the heading for access.