The Beatles masterpiece: Revolver or Sgt. Pepper?

For years, Sgt. Pepper's Lonely Hearts Club Band was considered rock's greatest album. In the U.S., Rolling Stone magazine has long ranked it at #1 while Pepper sits in the prestigious Library of Congress' National Recording Registry for posterity. Critics on both sides of the Atlantic first in 1978 then 1987 awarded Pepper the top spot.

Then, Revolver stole the crown. It topped the 2000 Q magazine list of the 50 Greatest British Albums Ever; VH1's greatest albums in history list (2001); the Virgin All-Time Top 1,000 Albums list; and 2013's Entertainment Weekly's greatest albums in history.

1966 ad for the U.S. Revolver

So, what happened?

Probably the tide turned when the 1987 CD issue of the UK version of Revolver finally reached American fans. Since the album's stateside release 50 years on August 8, 1966, American listeners were stuck with an inferior version that omitted I'm Only Sleeping, And Your Bird Can Sing and Dr. Robert. Since 1987, generations have grown up on the complete 14-track album which restores the absence of John's missing songs and rectifies the balance of Revolver.

1967 ad for the U.K. Sgt. Pepper

Further, those GenX'ers and Millennials didn't live through the Summer of Love, which Pepper shaped. Instead, the younger generations grew up with a critical distance and simply listened to the music.

That said, Pepper remains the favourite of many rock and Beatles' fans, but so does Revolver. Below, we (the Doc exhalting Revolver and the Guv championing Sgt. Pepper) debate the merits and weaknesses of both albums.

(Read more about Sgt. Pepper: A Splendid Alternative)

Doc: Sgt. Pepper had the greatest impact of any Beatles -- or rock -- album, but in terms of songwriting, performance, innovation and vision, Revolver is superior. Revolver captures Lennon, McCartney, Harrison and Starr hitting their creative peaks at precisely the same time. They were abetted by an experienced, yet adventurous producer in George Martin, and a hungry, innovative engineer in Geoff Emerick.


Guv: Revolver is the latter part of the Beatles' transition to studio band, but it's still not fully realised. It's patchy. The studio band is still finding its wings. Pepper, on the other hand, stands as a whole. I clearly remember the first time I heard the album as a teen. It blew my mind. As an album, it was greater than its parts and evokes an atmosphere -- a place, a time, a psychedelic, swinging 60s Liverpool.


Poetry & fantasy



Doc: Pepper is an achievement of the highest order, too, but it's an excursion into fantasy and whimsy and not terribly personal or profound, except for A Day In The Life.

Guv: Pepper as an album is more complete, more realized. It's a painting, a watercolour. Revolver is a collage that is best viewed in segments.

Doc: The songs on Pepper are as varied in style and subject matter as those on Revolver, but because the former is packaged as "Sgt. Pepper's band" there's an illusion of unity. It's a collection of songs, that's all, and those songs simply aren't as memorable as Revolver's.

Guv: It wasn't really a concept album, but that's what it is. And it's not just the packaging. The flow of the album is a listening experience. I can dip in and out of Revolver. Pepper is an album I listen to in total.

Doc: The overall flavour of Pepper is self-conscious fantasy, a la Mr. Kite and Lucy and the title track itself. Mind you, the fantasy is dazzling...

Guv: While I agree it's very much fantastical, I don't for a moment believe it's self conscious. Lucy and Kite both have brilliant and creative origins: a child's drawing and an Elizabethan poster - both ideal candidates for songs, and neither is self-conscious. And the instrumentation on those two tracks is highly inventive. Original, stunningly beautiful soundscapes to listen to.

Doc: I find the lyrics on Revolver are more personal and therefore resonant. Pepper is fun, but Revolver touches me.

Guv: Exactly! Pepper is fun. It's not wildly introspective, which is what acid [LSD] did for them, but full of humour and wit. The backing vocal lines in With A Little Help From My Friends. The humour of Lovely Rita ("What do you see when you turn out the lights? I can't tell you, but I know it's mine", "took her home, I nearly made it," & "sitting on a sofa with a sister or two") Nudge-Nudge, wink-wink.

Doc: That's my point: Pepper is indeed fun, more fun that Revolver, but Revolver is grittier. The songwriters began writing introspectively with Rubber Soul, then went full bloom with Revolver, but the acid-Carnaby Street scene pushed John and Paul into whimsy and fantasy.

Guv: Oh, come on! Once again you're picking on Rita and Friends? Just how introspective and reflective do you find Yellow Submarine? And Taxman is just George complaining about how much he had to pay the government. As far as protest songs go, it's hardly Dylan! And what's wrong with Whimsy and Fantasy?

Doc: Nothing, but Pepper is 90% whimsy and fantasy. It needed a personal, poetic song like Strawberry Fields Forever to balance it out.

Guv: Again I come back to listening experience. Put on Pepper and I'm transported. A fantastical world. I can close my eyes and be lost for 43 minutes.

Robert Freeman's dazzling cover for Revolver that was rejected. Freeman photographed the covers of With The Beatles, Beatles for Sale and Rubber Soul. 

The George factor

Doc: One area where Revolver triumphs over Pepper is the diversity of voices. Revolver boasts three George songs and the rest are split between Paul and John. Pepper is overwhelming Paul. You barely hear George. John shines with Lucy and A Day In The Life, but his presence is weaker than usual. I love the contrast of voices on Revolver and miss that interplay on Pepper.

Guv: George shone on Revolver, no doubt. But an album is not about democracy. It's about the best songs at the time. It was a mistake to leave SFF and Penny Lane off Pepper, for sure. I know Paul can be twee (i.e. the verses of Getting Better) but John was there to balance that with, "It can't get much worse." Paul countered this by softening Lennon's seriousness, for example, with his interlude in the middle of A Day In The Life.

Doc: Look at side 1 of Revolver: George's Taxman (an angry song with a funky bassline and a blistering guitar solo), the sad eloquence of Eleanor Rigby with a restrained, but effective classical backing, taking Yesterday a step further), then dipping into psychedelia with John's dreamy ode to daydreaming in I'm Only Sleeping with the backwards guitar. Then, we turn 180-degrees into India with Love You To, which rocks as hard as any Beatles song, only it's done with a tabla and not a Rickenbacker.

Guv: But it's disjointed. It doesn't flow as well. And this is where tone comes in. Revolver works well enough, but as I suggested, by accident.

Doc: My point about Revolver isn't about democracy, but diversity. You have three voices -- and personalities and world viewpoints -- contrasting each other. In Pepper, those viewpoints are glossed over by fantastical songwriting and elaborate musical arrangements. What may be a jumble of songs to you, is to me like reading an anthology of the greatest short stories of all time from cover to cover.

An early version of Klaus Voorman's cover for Revolver before the photo montage.

Guv: Even an anthology of short stories needs a unified theme and flow.

Doc: Revolver flows. The unity lies in the consistent level of musical invention and economical writing of every song. There's no fat on this album and each song is reaching for a new sound and expression. For example, the long, "elliptical" fade-in of I Want To Tell You is seductive and smart.

Guv: Of course there is fat on Revolver. Yellow Submarine belongs there? It's a throwaway, charming kiddie song. Love You To is good, but hardly vital.

Doc: Oh, please,

The Revolver sessions, spring 1966 at EMI Studios on Abbey Road. (photo: Robert Freeman)

Words & music

Doc: The lyrics in Revolver are more personal and the songwriting is economical. Lyrics get to the point and they are sharper. Take any line out of Eleanor Rigby, which is one of Paul's finest lyrics ever ("and was buried along with her name"); or the sardonic Taxman ("If you take a walk, I'll tax your feet"); or the sadly nostalgic She Said She Said ("When I was a boy, everything was right'); or the enigmatic Tomorrow Never Knows ("Lay down all thought surrender to the void"). 

Guv: Those are fine examples, but you can counter those lines with a bunch from Pepper. "And the time will come when you see we're all one and life flows on within you and without you".

  

Doc: Pepper has its moments, lyrically, but they are fewer and far between. "I used to be angry young man, me hiding me head in the sand" in Getting Better is honest and powerful. "See the people standing there who disagree and never win and wonder why they don't get in my door" is a rare instance of Paul talking to himself (a la John). Then, of course, you have A Day In The Life.

Guv: I won't deny Revolver pushed envelopes both instrumentally and in arrangement. It was a huge leap from Beatlemania's boy-meets-girl. But Pepper took it a step further and the studio became another instrument like never before. I would argue that has never been surpassed. Elaborate, textured, layered, but not self-conscious.

Doc: On Revolver, some songs just didn't need elaborate arrangements, like Here There and Everywhere, She Said She Said and Good Day Sunshine. They could have been performed in concert. Pepper songs were all intended for a full production. I can't imagine Lucy in acoustic.

Listen to the isolated tape loops that appear in Tomorrow Never Knows

Guv: Revolver was a band still in transition, from teenyboppers to studio masters. Their minds and imaginations were opened by acid, and they needed to replicate that experience on vinyl. They had time to experiment in the studio, and were fortunate to have willing accomplices in Martin and Emerick. And they did it so well. Revolver is, indeed a masterpiece. But by the time they got to Pepper they had more control, more time (they'd stopped touring) and were able to practise and develop their parts. Paul's playing is more melodic than every before. Revolver took them to the final camp, but with Pepper they reach the top of the mountain.

Doc: The fantasy of Pepper is imaginative and beautiful, but there is a shallowness to it as well. Revolver's songs are more personal and direct, so they touch the listener. Also, there is a diversity of voices on Revolver that is lacking on Pepper. (The Beatles could have rectified this by including Strawberry Fields Forever.)

Guv: That's where Pepper works. It's Psychedelic Music Hall.

Doc: Revolver is a collection of sounds, many new to listeners in 1966, yet still fresh 50 years later. 

There's Indian raga, Memphis soul, Beach Boys harmonies, a children's song, an acid trip and classical strings on an album that has no weak moments.

Read more of our special coverage celebrating the 50th anniversary release of Revolver:

Cos I'm The Staxman: What if the Beatles recorded Revolver in Memphis?

Paperback Writer/Rain: The Beatles' most overlooked single

As relevant as the Vietnam War: the Beatles' butcher cover 50 years later

Beatles 50th anniversary in Toronto exhibition short-changes fans

Beatles 50th anniversary in Toronto exhibition short-changes fans

Part of the Rowboat Syndicate's coverage celebrating the 50th anniversary of Revolver

review by Allan Tong

When The Beatles Rocked Toronto is long on Toronto history, but short on the Beatles.
Promoted as "Metropolitan life and music in the mid-60s," the exhibition (running through Nov.12 at the St. Lawrence Market's Market Gallery and part of a larger celebration, Beatles 50 T.O.) does just that. A detailed written timeline, vintage living room furniture, Yorkville coffee house posters, a giant map of the downtown music scene and archival photos detail the vibrant mid-60s scene in Toronto.

This part of the exhibition succeeds. It illustrates uptight, WASPy Toronto invaded by white kids playing folk music and rock 'n' roll. There are mementos of folkies including Joni Mitchell, Gordon Lightfoot and Neil Young who graced the coffee houses of Yorkville, then a hotbed of teen rebellion (and today a millionaire's playground).

A glaring omission is Bob Dylan.

In September 1965, Dylan recruited Ronnie Hawkins' (a legendary Toronto rockabilly singer) band, The Hawks, to back him on his tour. Dylan was transitioning from a folkie into a rock star, and the Hawks (later The Band) would join him. The marriage of Dylan's lyrics with electricity revolutionized popular music in 1965 that directly influenced The Beatles. And Toronto played a key role. So, where's Bob?

This half (literally more than half the floor space of this art gallery) of the exhibition does not connect with The Beatles. True. It's important to offer context so that audiences today can understand the impact The Fab Four had on North American cities like Toronto. However, the Yorkville scene consisted of coffee houses where folk singers played. How did The Beatles fit? The exhibition feels like two separate shows: one about mid-60s Toronto music, and the other about The Beatles' three Toronto concerts in 1964, 1965 and 1966.

Visitors, of course, will pay more attention to the The Beatles' part of the exhibition. There is the requisite memorabilia: a tour program, bobbleheads, trading cards, an oversized comb, a Beatles wig, and a Toronto Telegram magazine picturing John in a ridiculous nightgown on the cover. The jewel is a pristine "butcher" cover. All fun and fine.

More intriguing are Canadian items that few fans have seen: ticket stubs from the Toronto shows, a Cadbury Chocolate offer to buy Beatles photos, CHUM radio station record charts, a rare concert poster, and a Canadian fan club membership card and newsletter. Capitol Canada head honcho, Paul White, contributes much of his own vinyl, including a company newsletter, dated Nov. 22, 1963, declaring "BEATLEMANIA" INVADES CANADA that outlines his record release schedule and strategy. (The exhibit proudly notes that the Beatles conquered Canada a year before the U.S.)

White shares some reminisces in a video that is part of a larger loop. No, there's no footage of The Beatles here, certainly not the concerts or interviews with screaming fans. Instead, there is a Toronto music program that ran on TV. Shamefully, most of this video is marred by out-of-synch audio.

That's right. There's not a single second of film or audio of any of The Beatles' concerts, press conferences or even news coverage (i.e. CBC-TV). Collectors have this already and some of it is available on the internet, but something - anything - deserves to be part of this exhibition. This is inexcusable.

The Beatles play Maple Leafs Gardens, Toronto, on Sept. 7, 1964 (photo: Boris Spremo)

The closest we get to reliving the concerts are two slideshows capturing fans clamouring outside Maple Leaf Gardens, Toronto's venerable, old hockey arena where The Beatles performed, and of the band itself performing onstage and hosting press conferences. Photographers Boris Spremo, John Rowlands and Lynn Ball share many amazing images. Fans scrawl graffiti on the Gardens' back door, and weep and scream in and outside the venue. Watching this, I wondered, What happened to these teenage fans? Where are their reminisces in this exhibit?

Another glaring omission is the complete absence of Revolver. Though the band played no music from this album, the entire point behind the August 1966 tour was to promote it. Similarly, there's zero reference of The Beatles getting fed up with touring and soon winding down Beatlemania. There's no explicit mention of the Bigger Than Christ furor, Tokyo demonstrations and Manila fiasco that forever drove the Beatles, which in turn makes the 1966 Toronto concert all the more important. 1966 forced Sgt. Pepper.  Yet, none of this context is here.

The visitor gets close, but not close enough. When The Beatles Rocked Toronto is a nostalgia trip for Boomers who lived through the era, but they will gain no deeper understanding of The Beatles. Casual fans and those born after the 60s will enter a time capsule and get a taste of Beatlemania and Toronto music, but will not understand the significance of The Beatles on Canadian society. They were a big pop group, that's all.

At $10 admission and supported by the Toronto and Ontario governments, When The Beatles Rocked Toronto is a cash grab. 

Read more about Revolver here.

Supersonic! How to remix the Beatles' first two stereo albums

In 1963, the Beatles recorded Please Please Me and With The Beatles on two-track tape with the instrumentals on the left channel and the vocals segregated to the right. There is no "bleed" between channels.

"The reason I used the stereo machine in twin-track form was simply to make the mono better," explained George Martin in The Complete Beatles Recording Sessions. "I certainly didn't separate them for people to hear them separate!"

No kidding. The 1963 stereo mixes suck. You can land a Space Shuttle between the left and right channels. You can get an aneurysm listening to them on headphones. The torture is more acute in the age of digital music, where every instrument and voice is crystal clear.

But there's good news! We at the Rowboat Syndicate have solved the eternal "extreme panning" malady once and for all. Best thing is: anybody can do it.

All you need is the following:

1) The 1963 stereo mixes in WAV (preferably) or MP3 form.

2) Audio mixing software. I use an ancient version of Cool Edit Pro. All you need is software that separates each channel into LEFT and RIGHT, like this: 

3) A good set of headphones, like Sennheisers, or stereo speakers to monitor your work clearly. 

Let it bleed

Let's start with Please Please Me, The Beatles' first song recorded in infamous two-track. Load PPM onto your audio mixing software. Then, go to the channel mixer (as shown above). You'll hear this:

LEFT: Rhythm track (all instruments, ex-harmonica)

RIGHT: John's vocal + harmonica

Brutal, right? To reduce the panning, open the channel mixer on your software. This function lets you mix each channel, the left and the right separately. This is crucial. What you'll be doing is blending some of the right channel into the left channel, and mixing some of the left channel into the right. If you don't know what I mean, then, slide or key in the R in New Left Channel to 40, and do the same with the L in New Right Channel. Click preview and listen.

Now, you should now hear John's vocals in the left channel, though they remain louder in the right, and the instruments in the right channel, they remain stronger in the left. Overall, you should detect each channel bleeding (that word again) into the other to produce a more balanced and satisfying sound between your ears. The stereo breakdown now looks like this:

LEFT: Rhythm track  + (40% John's vocal + harmonica)

RIGHT: (John's vocal + harmonica) + 40% rhythm track  

Depending on your tastes, you can further separate the channels by decreasing the percentages or you can blend them more by increasing those levels. I recommend going no lower than 25% or else the channels sound too far apart, and I wouldn't rise beyond 50% or else you're sounding like mono.

 

THE SWEET SPOT

After a lot of trial-and-error, I've determined that the sweet spot for the faster rock numbers should be mixed around 40%, while slower ballads stay within the 25-30% range. The reason is that rock numbers pack a visceral punch when you toss all the sonic ingredients together into a giant lump, while channel separation lets you appreciate each instrument in a ballad. 

To prove my point, mix Till There Was You at 30% blend:

Again, it comes down to personal taste. I find 25% too wide, and the mix draws attention to itself and detracts from the listening experience. Meanwhile, anything set higher than 30% and the instruments lose their distinction, particularly the guitar solo where each notes needs to be appreciated in detail.

Now, some of you may want Paul's vocal in the right channel to be more centered. Try this:

The only change here is setting the R in the New Left Channel to 60. What this does is blend 60% of the right channel (Paul's vocals) into the instruments of the left channel. Make sure to keep L in the New Right Channel at 30. Though Paul's vocal remains louder in the right channel, you now hear the illusion of Paul's voice centered in the mix and more dominant. Again, there is no right or wrong mix. You must find your own sweet spot. 

And that's it. Keep these rules of thumb in mind as you remix the stereo Please Please Me and With The Beatles albums, as well as From Me To You and Thank You Girl.

What about I Want To Hold Your Hand? That was recorded in four-track with the vocals already in the center. More on that later...

As relevant as the Vietnam War: the Beatles' butcher cover 50 years later

This is the second in a series of features celebrating the 50th anniversary of The Beatles' landmark Revolver album.

In March 1966, two routine events set the stage for The Beatles' annus horribilis: John Lennon's fateful interview with The London Evening Standard's Maureen Cleave where he pronounced "the Beatles are bigger than Jesus," and a routine photo session with Robert Whitaker.

Only it wasn't routine. On March 25, the Australian-born photographer collected The Beatles in a studio in London's posh Chelsea to pose them for a conceptual art piece entitled, A Somnambulant Adventure.

"I felt The Beatles needed a new approach with their image," Whitaker explained in The Beatles: An Oral History. Whitaker got George to pretend to hammer nails into John's head, each of them to wear bird cages over their heads and all of them to hold a strand of sausages. Whitaker got more carnivorous by draping the band in white butcher smocks and throwing slabs of raw meat and dismembered plastic dolls over them.

Fifty years later, it's not entirely clear how the infamous butcher image wound up on the cover of Yesterday and Today, but it sounds like the band (probably except George who detested the images) submitted the butcher photos to EMI and Capitol to promote their next releases, including the June 10 Paperback Writer single in the UK.

This ad first appeared in the New Music Express in the last week of May 1966, then on June 4 in Disc and Music Echo ahead of the June 10 release of Paperback Writer/Rain. A week later, the same magazine printed a colour photo on its cover, an alternate image beneath the headline, "What a carve-up!" The image raised a few eyebrows in Britain, but nothing more.

However, when the first printing of Yesterday and Today hit American records stores on June 20, it unleashed a firestorm and we all know what happened next: a costly, massive recall that resulted in unknown quantities of a generic cover slapped over the offending butcher cover, thus instantly rendering those copies collector's items.

"The original cover concept never really materialized," explained Whitaker. "It was meant to be a double-folded album cover where the front showed the four Beatles holding sausages, which would have stood for an umbilical cord." The link of sausages would connect with a woman in the inside gatefold to symbolize the birth of the Beatles and "all kinds of surreal, far-out images."

Well, that would have been different. Regardless, Whitaker was surprised that the butcher cover wound up on the front of Yesterday and Today and wonders if The Beatles sent Capitol the butcher image as a dark joke for this "filler" album.

In the valley of the dolls. Robert Whittaker's fateful photo shoot with The Beatles begins.
It ends in either black humour, poor taste or a protest against Capitol Records.

If 1967 was the Summer of Love, then 1966 was the Summer of Hate. At least, for The Beatles. The year began pleasantly enough with the band getting an overdue rest after three non-stop years of work before recording Revolver in the spring. Three songs were pulled from the early sessions to pad out yet another hodgepodge that Capitol presented to Beatles' fans as their so-called "new" album.

Let's consider Yesterday and Today, which was released 50 years ago today. Sure, it's full of great songs, including Nowhere Man, Day Tripper, We Can Work It Out and the title song, but the collection is disjointed and ultimately unsatisfying. Stylistically, songs jump from the country-and-western Act Naturally and What Goes On to the psychedelic I'm Only Sleeping and the heavy guitars of And Your Bird Can Sing and Day Tripper. Yesterday and Today also suffers from an imbalance of voices: Paul sings lead on only three of the 11 songs, Ringo takes two, George gets one, and John the rest. If anything, Y&T is a survey of John Lennon's songwriting from 1965-6.

Capitol got away with this tawdry re-packaging in Something New and Beatles VI in 1964 and 1965 because the Beatlemania sound was homogenous over this period, but Y&T captures the Beatles in a period of rapid maturity. Only 12 months separate the releases of Help! and Revolver, but artistically The Beatles traveled light years in this time. Can you imagine Act Naturally on Revolver?

To be fair, every British Invasion group, including The Rolling Stones and Animals, suffered the same crass re-packaging of their music that routinely short-changed American fans (UK albums boasted 14 songs and no singles). Y&T was especially egregious. Yesterday, Act Naturally, We Can Work It Out, Day Tripper, Nowhere Man and What Goes On were already selling as 45s in American record shops when Y&T landed on June 20, 1966. That means that less than half of the album's music was actually new. Of course, Capitol didn't care. Y&T sold 500,000 copies in two weeks, and topped the charts for three weeks.

In 2016, Yesterday and Today is largely a nostalgia piece for North American baby boomers and a curio for later generations. Yesterday and Today symbolizes a pop band that suddenly outgrew its teenybopper image and was rapidly reshaping music. The butcher images that promoted the album and Paperback Writer were meant to sever the band from their cute moptop image. Sgt. Pepper would accomplish that with more subtlety and imagination 12 months later.

In 1986, the butcher cover re-appeared on official vinyl as the B-side of the limited-edition Paperback Writer picture disc. In 1980, it graced the gatefold of the North American release of the Rarities LP.

On a more important level, the butcher cover was the first of several controversies in 1966 that culminated in The Beatles retreating from concert stages forever and retiring Beatlemania for good. The Beatles were never the same after the summer of 1966.

They were a sardonic, cynical bunch, and the symbolism of peeling back the innocuous moptop image of Yesterday and Today to reveal the hidden butcher cover beneath is obvious. The mood of the era was darkening, too. By 1966, America was falling deeper into the amoral Vietnam War while its Civil Rights Movement was growing bloodier with riots and demonstrations.

The butcher cover, sneered Lennon was "as relevant as Vietnam."

Paperback Writer/Rain: The Beatles' most overlooked single

This is the first in a series of features celebrating the 50th anniversary of The Beatles' landmark Revolver album.

Innovative in sound and lyric and influencing rock bands decades after its release 50 years ago today, Paperback Writer was the first Beatles' single to be greeted by disappointment.

It was the first single since She Loves You to fail to immediately hit #1 upon release, though it would covet the top spot for two weeks on both the U.K.'s New Musical Express and American Billboard charts. Critical reaction was mixed. In 1974, British music critics, Roy Carr and Tony Tyler, wrote that "opinions still differ as to the merits of Paperback Writer, the first Beatles single to receive less-than-universal acclaim."

Today, that's astonishing to read, but then again, Paperback Writer and its brilliant b-side, Rain, are considered two songs created well ahead of their time.



Can you hear me?

A few weeks into the Revolver sessions on April 14, 1966, Paul McCartney strolled into the EMI Recording Studios on Abbey Road, sat at a piano and confidently declared to his bandmates, "Gather 'round, lads, and have a listen to our next single."

Paul then pounded out a catchy tune about a wannabe writer, and directed John and George where to harmonize. "It was obvious to everyone in the room that this was an instant hit," engineer Geoff Emerick recalled in his memoirs, Here, There and Everywhere.

Artistically, both sides of the single broke from the traditional boy/girl lyric found in all previous hits, including the Beatles' recent We Can Work It Out/Day Tripper. Trite love songs still ruled the charts (and still do today), but by mid-April 1966, Bob Dylan had revolutionized popular songwriting with his 1965 albums, Bringing It All Back Home and Highway 61 Revisited, which burst with abstract images and symbolist poetry. No love songs here.

Paperback Writer would be Paul's first "story" lyric, where he tells a tale in the third person, namely about an aspiring writer whose son works for the Daily Mail and wants to get a novel published. Paul delivers a sharp vocal, but the highlight is the refrain, sung in harmony with John and George and drenched in heavy echo.

Sonically, Paperback Writer also boasts a gorgeous, fat bass line that was inspired by American soul records from Stax and Motown. The bottom end never sounded like this on any Beatles' (or British) record to this point. The Beatles were tired of hearing superior bass on American records and demanded a change. "Pull out all the stops," Paul instructed the band's new recording engineer, Geoff Emerick. "This song is really calling out for that deep Motown bass sound."


Long technical story short, Emerick experimented by wiring a loudspeaker as a microphone to max out Paul's bassline, which, by the way, he was playing from a beefy Rickenbacker instead of his "thinner" Hofner violin bass.

Paul also played the fuzzy lead guitar (though some believe it was George) which was also the Beatles' first distorted guitar. 1966 Beatles is noted for this sound which reflects the music their peers were making from London to San Francisco. Paperback Writer as well as Rain owe more to the Yardbirds' hit of the previous summer, Heart Full of Soul, than the clean twang of I Want To Hold Your Hand. The Beatles did not invent this sound, but helped popularize it.

 
The same goes with the b-side, Rain, which was every bit as inventive as the a-side, but decidedly less commercial. It's widely considered the band's finest b-side, though in my book, it's really on equal footing with Paperback Writer, like We Can Work Out complements Day Tripper. 


This Lennon track owes an obvious debt to the Byrds, the California band that was in turn influenced by The Beatles' 12-string Rickenbacker sound. However, the lyrics, which were definitely not boy/girl, were inspired by LSD that John was starting to drop regularly around this time.

Studio trickery here amounted to slowing down the rhythm track to make it sluggish and playing the vocals in the fade-out backwards. Though George Martin took credit for this innovation, it's more likely (as corroborated by engineer Emerick) that John got stoned on hash one night and accidentally spooled his reel-to-reel tape backwards on his home deck. The sound blew his mind.

The song creates a dazzling, colourful world of its own that the listener can slip into for three minutes, like Alice tumbling down the rabbit hole. However, the sound texture of Rain would've been too far out for 1966 radio, and for years it was a nearly-forgotten gem.

In the digital age, Rain finally gotten its due. Until 1987, the track was not featured on any album, including compilations, and found only if you picked up the Paperback Writer single. Even then it was mixed only in mono. However, I would argue that the wide-panning stereo on today's releases it terrible. Ringo's high-hat is to loud in the mix, and the stereo picture is too disjointed with vocals and instruments separated by a thousand sonic miles.

A word about Ringo's drumming. Ringo himself feels that Rain features his best drumming, but I disagree. His shining moment came a few weeks later in mid-1966 when The Beatles recorded She Said She Said.


I can show you

Paperback Writer/Rain was a preview of their forthcoming album, Revolver. I suspect that few fans realized it at the time, but The Beatles in June 1966 were searching for new sounds and tired of their cute moptop image. Like all great artists, The Beatles were too talented to stand still. Sure, their records would continue to sell millions and top the charts, but who was really listening? Unlike She Loves You which launched The Beatles in 1963 Britain or Hey Jude which would become their biggest-selling single, Paperback Writer/Rain would be overlooked in its time and not fully appreciated until many years later for its originality and innovation.

Rubber Soul 50 years later

The Doc and the Gov recently held a long-distance listening party to celebrate the fiftieth anniversary of this album. Here is their track by track discussion:

Drive My Car

Doc: It's the first Beatles song where the bass leads the song and remains its focus. George suggested the bass line from Otis Redding's Respect.

Guv: And the cowbell with the short piano fills all suggest Motown. Plus Drive my Car is, supposedly, black innuendo for sex. A great choice for an album opener, especially when the title puns "soul" music. During the recording of I'm Down, as we know, Paul called out 'Plastic Soul', which was a term he'd heard soul musicians use to describe Mick Jagger.

Doc: This is the fattest bass line that Paul laid down to date. I think the big take-away here is musical: The Beatles were starting to push studio limitations sonically. British pop records sounded thin in those days.

Guv: And this is where Paul started becoming melodic in his basslines.


Norwegian Wood

Doc: Another instrument leads this song, something truly exotic, the sitar. The perfect choice. Otherwise, it would have been acoustic guitars.

Guv: To teenage ears of 1965 it must truly have sounded otherworldly. It carries the song, give's it an identity. There are layers of texture. A light touch on bass after the thumping Drive My Car.  Deft footwork from Ringo, with the kick drum buried deep. This is a really nice mix.

Doc: Lyrically, it's actually a nasty anecdote about a guy spending the night with a girl, not scoring with her, but sleeping in the bathtub instead, then taking revenge in the morning by torching her flat. Musically and lyrically it packs a lot of ideas in 120 seconds. One of the album's best songs.


You Won't See Me

Guv: Two songs in a row lyrically about being rejected.

Doc: Paul was quarreling with Jane Asher at the time and his angst came out in this song and I'm Looking Through You. The tempo was inspired by the Four Tops' It's The Same Old Song, with the driving beat. Great song.

Guv: Both Paul and John deliver these songs in laconic, weary voices. They seem to drag behind a little. Both underplayed, particularly after Drive my Car. But where John was bitter and vengeful, Paul is just tired and saddened.  Paul's weariness is countered with the lightening 'Ooh La La' backing vocals, softening it.

Doc: Not praised enough, if you ask me. Sure, it's a boy-girl lyric, but Paul's anger gives it bite than anything he wrote before that.

Guv: Two songs about a quarrel with Jane Asher, both visual metaphors. I'm Looking Through You, and You Won't See Me.  Hmmm

Nowhere Man

Doc: The first non love, boy-girl lyric by the Beatles. Not a step forward, lyrically, but a running leap.The lyrical sophistication and the intricate three-part harmonies make this a special song.

Guv: Although we'd had three part harmony before, This Boy for example. Nowhere Man is the first indication they had something special. Almost a precursor to Because on Abbey Rd. And, famously, John singing about himself in the third person. A different take on himself, as compared to Help! Nice little guitar parts and solo from George, ending on a a harmonic which just rings through.

Doc: Clever arrangement by opening acapella. Catches your ear every time. A lesson in song structure here. Dylan covered this song in concert a few times, saying he always loved the lyric. Nowhere Man was a #1 single in both our countries and hit #3 in American Billboard in early 1966. That's important, because it signaled to the world that the Beatles were moving away from boy-girl teenybopper music to songs that were more mature and complex.

Guv: It was an EP here, but it was at a time when EPs were on their way out. It seems it might have been a single in the US because the Americans omitted it from Rubber Soul and held it over for Yesterday and Today.


Think For Yourself

Doc: Back to back non-love songs.

Guv: George's first foray into something deep. There are suggestions it's about Pete Best. Wikipedia certainly comments it was shortly after the Pete Best lawsuit.

Doc: Maybe it was about Pete Best, but I'm not convinced. The lyrics are a leap for George. I mean, he recorded I Need You before this.

Guv: Nor me. I suspect it's a general warning. At this time I think the Beatles were so famous they were being approached by charlatans and con-men from all directions, and so many untruths were being written about them in the media. Mostly I think it's a general anti-establishment/government warning to the youth. There are several songs on this album that indicate the future of hippy-ism. Two basslines, the fuzz and the regular. It's thick, full and rich, and works.


The Word

Guv: John starting to think about universal love as a concept, something he revisited with All You Need is Love.

Doc: Not the most memorable melody, but a solid lyric and performance. For me, the musical highlight is George Martin's harmonium solo near the end. That burst awakens the tune.

Guv: Interestingly, this is the first song they wrote while smoking pot.

Doc: That would explain the hippy vibe of the tune.


Michelle

Doc: This would've been a number one single. Unusual for a ballad to close side 1. Every album till then closed with a rocker.

Guv: I just read about the origins of this song in Lewisohn's book. John received some money for his birthday, so they took off to Paris for a holiday. George, in particular, was not impressed as they had to cancels gigs. Paul wrote this psuedo-French thing, mocking some of the people he'd met there on the left bank. Years later John suggested he rewrite it,because it had a pretty melody. It's delicate, recalls French chanson, without falling into a cliche or parody.

Doc: Beautiful. I have no complaints about it. Again, the bass gets the spotlight here.

Guv: Yes, light touch, great accents. Paul's playing is imaginative, and not just playing root notes or traditional lines. The guitar solo in the middle is bittersweet. Sad, yet loving.


What Goes On

Guv: Interesting. Recorded in nine hours, with some speculation it was mostly McCartney on overdubs - including backing vocals and drums.

Doc: To be honest, I replaced this with We Can Work It Out on my iPod. It was the b-side to the US Nowhere Man single and in my opinion should've stayed there. It's the token Ringo song.

Guv: Throwaway song, An album filler for Ringo. And his first co-writing credit, with a country feel. Listening to it on headphones, the guitar playing, while jagged, is a little sloppy.  Not much effort went into this one.

Doc: Sorry, Ringo.

Girl

Doc: Another love song, but the songwriting elevates it.

Guv: And it's another introspective song from John. Reading between the lines, John is already wanting to leave Cynthia, and sees himself as the victim.

Doc: I like the Greek guitar flourish at the end. Another exotic accent on an album that already features an Indian sitar, French lyrics and a Memphis bass line.

Guv: Along with the hidden jokes of the 'tit tit tit' backing vocals and the audio of toking. They were like schoolboys trying to get away with a prank. I can almost imagine them giggling, wondering when schoolmaster Martin would catch them out.

Doc: Naughty Beatles.


I'm Looking Through You

Guv: A wonder, beautiful song from Paul. Fantastic lyrics, melody and instrumentation. Some optimism, but honest and pained.

Doc: An overlooked Paul song. The rhythm propels it. Biting vocal by Paul. Both the early version and the final version are powerful yet vastly different. Definitely a deep cut.

Guv: Ringo has some unusual involvement here. He plays some percussion on his legs, and a matchbox, but also played the two note strikes in the chorus on a Hammond Organ.

Doc: Lastly, I consider the US mix with the extra notes in the intro, the true and complete version. The UK mix always sounds incomplete to my ears.

Guv: I guess it's what you grew up with. I found the US one to be interesting, but a bit of a novelty.

In My Life

Doc: What else is there to say about this song that hasn't been said? It's one of the finest songs by The Beatles or anybody.

Guv: It would have been a fine song with that melody regardless of the lyrics, but the final words truly lift it into something special and resonant.

Doc: As a test, sequence this song in the middle of any previous Beatles album. This song is light years ahead of anything they recorded before (like Nowhere Man).

Guv: There's nothing on there I would change. And it started out about memories of Liverpool, which ultimately led the way to Sgt Pepper. Lennon says McCartney contributed to the bridge. McCartney says the melody is entirely his, having taken John's lyrics to work with.

Doc: Me being me, I would remix it and reduce the wide panning, but more about that later.


Wait

Doc: Going from In My Life to Wait is a slight let-down, like eating steak to a Big Mac. Definitely album filler and an anachronism, since it was written during Help!

Guv: An apt simile, and definitely filler. Recorded during Help!, with overdubs added so it was sonically similar to the other Rubber Soul tracks. It's not a terrible song, it's just that in comparison to the other songs on the album, it's lacklustre.

If I Needed Someone

Guv: Another fine and worthy contribution from George, He even played this during his 1992 Japan concerts.

Doc: Definitely it cops The Byrds' Bells Of Rhymney, which itself is an English folk tune about miners, but it works for me.

Guv: Harrison sent a tape of it to McGuinn prior to release. But yes, he riffs off the Byrds, who based their entire career on George.


Run For Your Life

Doc: Another nasty-to-girls lyric by John, like You Can't Do That. But this is filler.

Guv: This song has had some bad press over the past few years. A couple of radio stations have banned it due to it's suggestions of domestic violence. John based this on an Elvis song, Baby Let's Play House. It simply doesn't come up to par. And it's a weak ending for such a strong album

Doc: I'd rather listen to take 5 of this song off Mythology. If you think the released version smells of domestic violence, take 5's vocal is pathological.

Watch out for Part Two of this conversation, coming soon!

13 Beatles Deep Cuts

The Urban Dictionary defines a deep cut as as: "A song by an artist that only true fans of said artist will enjoy/know. True gems that are found later in an album, a b-side. Rarely if ever played on the radio."

The Beatles are perhaps the most widely played band of all time. Yet, there exists a handful of songs, buried on albums and B-sides that are hardly ever played on the radio nor appear on compilations--but should be. We at Rowboat Syndicate unearth these gems here: 


 
IT WON'T BE LONG (With The Beatles)
John's charging vocals set against a breakneck tempo launch the album that heralded Beatlemania. The "yeah yeah" backing vocals of Paul and George echo She Loves You which, along with moptops and collarless jackets, were hallmarks of Beatlemania. Indeed, With The Beatles was recorded in the summer of 1963 while She Loves You was riding atop the British charts. It Won't Be Long is the perfect album opener, bursting with infectious energy, a galloping backbeat and exuberant harmonies. This is the sound of a hot, confident band on the rise--and knows it.


THINGS WE SAID TODAY (A Hard Day's Night)
John was white-hot during the first flush of international Beatlemania, being the lead writer of 10 of the 13 songs on the album, A Hard Day's Night, but Paul made up for his lack of quantity with quality. Buried on side two of the original UK LP, and relegated to the B-side of the UK single of AHDN, Things We Said Today is an uptempo ballad marked by a strong guitar riff which grounds the song. Paul's vocal is cool yet assured, while the arrangement (vaguely Latin) runs against the typical love song and amounts to sounding like nothing else in the early Beatles period or this era for that matter.




I'M A LOSER (Beatles For Sale)
 Much has been said about the lyrics of this song, marking a maturity in Lennon's songwriting (as inspired by Bob Dylan), and deservedly so. It's the best song on Beatles For Sale, the band's weakest album, but I'm A Loser foreshadows the introspection found in the following summer's Help! single. While Rock and Roll Music and Eight Days A Week have appeared on compilations, the album's best song, I'm A Loser remains solely on Beatles for Sale.


YOU WON'T SEE ME
I'M LOOKING THROUGH YOU
(Rubber Soul)
The Beatles could have released half the songs off this album as singles, including these two anti-love songs. Paul wrote them during a difficult patch with then-girlfriend, actress Jane Asher. They're both upbeat, rythmic numbers, the former inspired by the Temptations, which only underlies the anguish of the lyrics. "When I call you up, your line's engaged / I have had enough, so act your age," sings Paul in You Won't See Me while in I'm Looking Through You, Paul declares that, "Love has a nasty habit of disappearing overnight." Solid vocals, catchy melodies and lyrics with bite make these two album tracks highlights on an album bursting with masterpieces.



 
SHE SAID SHE SAID
TOMORROW NEVER KNOWS
(Revolver)
Revolver boasts such depth of songwriting, arrangment and performance that several of its songs qualify as deep cuts. How to choose? These two Lennon tracks, which close side A and B respectively on the original long-player, showcase a new direction in Lennon's songwriting. The songs reflect on mortality and mysticism. Also, they were directly shaped by acid trips.

She Said She Said is a direct lift from Peter Fonda recounting a near-death experience he has as a boy when he shot himself. He imparted this George to guide him through a rough LSD trip, while The Beatles were visiting Los Angeles in the summer of 1965. Lennon overheard Fonda's morbid anecdote and was repulsed by it. In other words, Peter Fonda is the "she" in She Said She Said. However, there's a melancholy in the song's "middle-eight" that anticipates the childhood retrospection of Strawberry Fields Forever: "When I was a boy / Everything was right." It's a mystery why Paul didn't play on this track, apart from having an arguing (over what?) and storming out of Abbey Road, but the remaining three Beatles play marvellously on this track. I personally consider Ringo's drumming on this song his best among all the Beatles recordings.

Tomorrow Never Knows is, of course, the album closer that paved the way to Sgt. Pepper. It's a song built on one chord and coloured with sound effects galore. The Beatles were infiltrating pop music with the avant-garde. The song stunned many at the time, but has never aged.

It astounds me that neither song has been included on various greatest hits compilations over the years, namely 1962-66. You will find them only on Revolver, arguably the band's greatest album.



 
RAIN (B-side, Past Masters 2)
To my ears, Rain and Paperback Writer are a double-sided single that rivals their previous and forthcoming UK singles, but Rain has never received the attention paid to its more popular flipside. Rain sounded too experimental for the pop charts of 1966, particularly its brilliant backwards coda. Paul's deep bass, Ringo's stuttered drumming and John's distorted vocals blend into a multicolour pastiche that shimmers whenever you listen to it. Rain is an amazing audio experience and remains as fresh as the day it was released in mid-1966. Until the CD age, Rain was available only on the Paperback Writer single. Again, why the hell wasn't it included on 1962-66 or the Hey Jude compilation of 1970? 


 
DEAR PRUDENCE
BLACKBIRD
HAPPINESS IS A WARM GUN
LONG LONG LONG
(The Beatles)
Let's face it: The White Album is one long deep cut. By decreee, none of its 30 tracks was released as a single in the U.S. or U.K. (though Ob-La-Di, Ob-La-Da was paired with While My Guitar Gently Weeps in a few smaller markets). The quality of album's songs varies wildly, but a handful stand above the others.  

Dear Prudence is a ballad, like Hey Jude, that builds in tempo and dynamics until it climaxes into a burst of sound and emotion. Both Prudence and Blackbird feature the debut of fingerpicking guitar-playing that Donovan taught the Beatles in India in early-1968. Blackbird is Paul's ode to the black Civil Rights Movement. Remember, this was the year Martin Luther King was assassinated and American cities were rioting. Featuring just Paul on acoustic, Blackbird is simple, direct and transcendent.

By contrast, Happiness Is A Warm Gun is one of The Beatles' most complex songs, featuring another abstract Lennon lyric ("lying with his eyes while his hands are busy working overtime"), three distinct sections and several changes in tempo and instrumentation, all remarkably done in 160 seconds. The other Beatles nominated this the best song on the White Album and I wouldn't argue with that.

George began to blossom as a songwriter during this period. While My Guitar Gently Weeps gets all the attention, but this hymn-like ballad that closes the boistrous third side is moving. He could be singing about a lover, but really George is talking to God. He's finding spiritual peace and opening doors to higher levels of consciousness without being preachy (as he was in his solo career). This added layer gives Long Long Long a powerful, yet understated depth.


 
BECAUSE (Abbey Road)

Though Paul dominates Abbey Road, John contributes some key moments. Because is one of them. It's really a reworking of Beethoven's Moonlight Sonata, but the song's spare, hypnotic arrangement and intricate three-way harmonies by John, Paul and George elevate it into a masterpiece. The spare lyrics, directly influenced by Yoko Ono, read like Zen philosophy and perfectly suit the spare arrangement: "Love is old, love is new / Love is old, love is you."