It's 60 Years of The Beatles' 'Rubber Soul'

Exactly 60 years ago today, the Beatles released Rubber Soul, their sixth UK LP album.

Rubber Soul represented a sharp departure from the sound which had brought the group unprecedented worldwide success over the past three years. Even the atmospheric, autumnal cover portrait of the group hinted that what was on the record was going to be something new – more mature and introspective than what had come before. Rubber Soul ushered in the most intensely creative and experimental period of the Beatles’ career, which would continue to play out over the following two years. 

Interestingly, this was only the second Beatles LP to completely eschew covers in favour of all-original material, following 1964’s A Hard Day’s Night. Although said by some – including producer George Martin – to be a pioneering example of a pop album being constructed as a cohesive whole rather than simply as a collection of songs, it did feature a few missteps, showing that the group were still in the early stages of honing this particular craft, which they would go on to perfect over their next two LPs, 1966’s Revolver and 1967’s Sgt. Pepper’s Lonely Hearts Club Band. Sonically, the group continued to explore new territories, including Hindustani music, folk rock and Baroque forms. Recorded over an intense four-week period in the autumn of 1965 to meet a Christmas release deadline, Rubber Soul proved that even though they were already unquestionably the world’s leading pop group, the Beatles had no intention whatsoever of resting on their laurels. 

Track by track 

'Drive My Car'

Right off the bat, the Beatles play a cheeky musical trick with the instrumental intro to this catchy opening track, an auditory illusion which leaves listeners disoriented as to where the beat starts. The musical sleight-of-hand extends to half-spoken, half-sung (sprechgesang) vocals which also leaves listeners unsure of the song’s key - qualities shared with the contemporaneous single 'Day Tripper', recorded at the same sessions. 

'Norwegian Wood (This Bird has Flown)'

Vaguely Bob Dylan-esque, this John Lennon-penned track is believed to be a thinly-veiled account of an extramarital affair. More notably, this is when George Harrison first revealed to the world – with the pioneering use of a sitar – his budding yet intense interest in Hindustani music, which began when he took an interest in a sitar displayed on a set for the film Help!, shot a few months earlier. 

'You Won’t See Me'

An underrated Paul McCartney gem, this vivid account of romantic turmoil was inspired by his turbulent relationship with the actress Jane Asher, as was 'I’m Looking Through You' on side B. Its elegant chord progression and long running length (the longest Beatles song recorded to date) showed McCartney’s determination to continue pushing boundaries as a songwriter. 

'Nowhere Man'

An enduring Lennon classic, this arresting account of a lost soul (probably a reference to the author himself) 'making all his nowhere plans for nobody' is in keeping with the philosophical theme established in his song 'Help!' from the previous album, although it strikes a more hopeful tone with its assurance to the 'Nowhere Man' that 'the world is at your command'. Achingly beautiful backing harmonies and a jangly guitar solo evidence the group’s ongoing exchange of ideas with the rapidly-rising US folk-rock act The Byrds. 

'Think For Yourself'

One of two George Harrison contributions to this album, the acerbic lyrics diverge sharply in tone from his pair of earnest love songs on the preceding Help! album. McCartney’s use of a Kinks-style harsh fuzz tone on his bass showed again that, as innovative as the Beatles themselves were, they were equally adept at quickly absorbing influences from their contemporaries. 

'The Word'

Lennon gently pokes fun at organised religion with this tongue-in-cheek sermon, which reveals that love is the only true answer to life’s big questions. Something of a 'filler' track given the many classic songs on this album, it nonetheless features interesting harmonies and a very frugal melody in the verse, the latter being similar to contemporary tracks 'Drive My Car' and 'Day Tripper'. 

'Michelle'

Conjuring up one of the most unique atmospheres of any Beatles song, this jazzy, downbeat track reflects the admiration McCartney felt during his school days towards the bohemian 'Left Bank' culture of Paris in the 1950s. The French lyrics in the verse were supplied by Jan Vaughan, a French teacher and wife of Ivan Vaughan, the mutual friend who introduced Lennon and McCartney to each other in Liverpool in 1957. 

'What Goes On'

As had become established practice by now, the album featured a designated 'Ringo song', and this time it opened side B. An enjoyable country-and-western shuffle and rich backing harmonies liven up what is otherwise essentially a filler track. 

'Girl' 

One of many memorable Lennon moments on this album, the sparse title of this song foreshadows the later Lennon songs 'Woman' and 'Mother'. A vaguely Greek-sounding instrumental accompaniment and Lennon’s intentionally audible breathing during the chorus give this track a tired, forlorn sound. 

'I’m Looking Through You'

Something of a companion piece to 'You Won’t See Me', McCartney’s narrator confesses that neither party to this relationship seems visible to the other. The bridge finally departs from the tough talk across both songs with its sad lament 'why, tell me why, did you not treat me right?' 

'In My Life'

Yet another masterpiece by Lennon, this quarter-life retrospective of love and loss reflected the profound impact of his difficult, grief-filled adolescence on his view of the world, but concluding nonetheless with what was becoming the Beatles’ consistent philosophical message - whatever challenges life throws at you, love is the answer. A special highlight here is the mechanical, Baroque-sounding piano solo, played precisely at half-speed by producer George Martin and then sped up to tempo in the studio. 

'Wait'

Needing an extra track to complete the album in time for their Christmas 1965 deadline, the group dusted off this McCartney song that had failed to make the cut for the Help! album earlier in the year - making this literally a 'filler' track. Still, it features a few distinctive elements including a minor-key melody in the verse (unusual for the Beatles) and Harrison’s use of the same volume pedal guitar effect that he leaned on heavily during the Help! sessions. 

'If I Needed Someone'

Harrison’s second contribution to the album is another nod to The Byrds, with its 12-string guitar riff resembling that from the US group’s song 'The Bells of Rhymney'. Harrison’s strong material on this album reflected significant progress in his development as a songwriter, which would continue unabated over the rest of the band’s career. 

'Run For Your Life'

The album’s weakest link, a lively rockabilly shuffle does little to mask Lennon’s mean-spirited and menacing lyrics, which are quite shocking by modern standards. An extremely rare dud within the Beatles’ canon. 

Chaitanya Ramachandran is a Mumbai-based lawyer and lifelong fan of the Beatles.

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