zed wrote:
If they left it... how come it is panned right?
I suspect that as with the Strat solo on Nowhere Man, that the two parts were played at the same time by John and George and tracked to mono. Why there was so little down the middle remains one of those George Martin mysteries of mixing and engineering.
zed wrote:
But seriously... what the hell are you talking about!?!?! Since when is anything the Beatles recorded hideous? I just listened to the part with finely-tuned ears, and there were a few areas where the double tracked parts weren't perfectly in sync... but pretty far from hideous. I love that guitar track. You must have been listening to the North American release of Rubber Soul... yeah that's right... the one which didn't include the song!!
No-- it's the Parlaphone release. Some of the fills are sloppier than most other Beatle tracks-- which are nothiing short of astonishing for their execution, but this is part of it's charm and honesty. I love it, too.
zed wrote:
When you soon find yourself facing the wrath of nickysnd, I'm gonna leave you fending for yourself.
Oh, I know-- but the Beatles would be the first to tell you how touring impacted negatively on their musicianship. The tracks on Rubber Soul are so wonderfully done, that I suspect "Act Naturally" was either among the first to be recorded for that session or might have been one of those end of the day takes. I recall John talking about "Twist And Shout"-- and how they'd recorded most all of that album in a day. This song was the last one of that day and his voice was shot, he says. It's a great performance-- gut wrenching-- so blood-curdling rock and roll for the time. Then, you listen to something like "If I Fell" or "I'm Only Sleeping" and those performances reach of a different order of perfection of their own.
zed wrote:
I never go too long without playing Beatles albums. Nothing else really sounds quite as satisfying to me. It is definitely the most important music of my life. Incidently, Rubber Soul is the album that gets played most often.
I don't either, usually. It was just one of those few occasions any more when I put on a headset and sat still . I'd like to take a day and listen to them all from start to finish without distraction.
I think it was George who said "Revolver" was basically part two of "Rubber Soul", although "Revolver" begins to face a different direction. George goes from "Think For Yourself" on one to "Taxman" on the other with nothing to apologize for.
"Rubber Soul" is stunning-- "Drive My Car", "Nowhere Man", "The Word", "Girl", "In My Life", "Michelle"-- I mean, one couldn't imagine writing just one song as good as any of these in an entire lifetime-- and yet all 14 of those tracks are masterpieces.
"Revolver"-- gee. I can't find enough good things to say about it. Among the most notable things that struck me this time around was the incredible versatility McCartney put forth in contrasts: "Elanor Rigby", "Here, There, and Everywhere", "For No One"-- the amazing guitar work (Casino!!) on ""And Your Bird..."-- but there's no denying what a landmark tune "Got To Get You Into My Life" was. That's not to downplay the contributions of the others at all-- but, I happened to notice how much of Paul was all over "Revolver" in the same way I noticed how much of John was all over "Beatles For Sale".
No, I say not that I want a Revolution. I'm just getting into the "inner grooves" of these tracks a bit more.
