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Wait - The Beatles - Rubber Soul


Label: Parlophone - 264-7464404 • Format: Cassette Album, Reissue, Stereo • Country: Germany • Genre: Rock, Pop •
Download Wait - The Beatles - Rubber Soul

Rubber Soul is the sixth studio album by the English rock band the Beatles. The original North American version of the album, issued by Capitol Recordscontained ten of the fourteen songs Wait - The Beatles - Rubber Soul two tracks withheld from the band's Help! Rubber Soul met with a highly favourable critical response and topped sales charts in Britain and the United States for several weeks. The recording sessions took place in London over a four-week period beginning in October For the first time in their career, the band were able to record an album free of concert, radio or film commitments.

Often referred to as a folk rock album, particularly in its Capitol configuration, Rubber Soul incorporates a mix of popLamp & A Bedpost - Caker & His Dogs - Lamp & A Bedpost and folk musical styles. The title derives from the colloquialism " plastic soul " and was the Beatles' way of acknowledging their lack of authenticity compared to the African-American soul artists they admired.

The songs demonstrate the Beatles' increasing maturity as lyricists and, in their incorporation of brighter guitar By The River - Eternal Tango - Welcome To The Golden City and new Wait - The Beatles - Rubber Soul such as sitarharmonium and fuzz bassthe group striving for more expressive sounds and arrangements for their music.

The project marked a progression in the band's treatment of the album format as an artistic platform, an approach they continued to develop with Revolver and Sgt. Pepper's Lonely Hearts Club Band. The four songs omitted by Capitol, including the February single " Nowhere Man ", later appeared on the North American release Yesterday and Today. Rubber Soul was highly influential on the Beatles' peers, leading to a widespread focus away from singles and onto creating albums of consistently high-quality songs.

It has been recognised by music critics as an album that opened up the possibilities of pop music in terms of lyrical and musical scope, and as a key work in the creation of styles such as psychedelia and progressive rock.

Among its many appearances on critics' best-album lists, Rolling Stone ranked it fifth on the magazine's list " The Greatest Albums of All Time ". Most of the songs on Rubber Soul were composed soon after the Beatles ' return to London following their August North American tour. In their new songs, the Beatles drew Super Trouper - ABBA - Super Trouper from soul musicparticularly the singles they heard on US radio that summer, by acts signed to the Motown and Stax record labels, [9] and from the contemporary folk rock of Dylan and the Byrds.

In doing so, Rodriguez continues, the Byrds had joined the Beatles and Dylan in "a common pool of influence exchange, where each act gave and took from the other in equal measure". Citing Dylan and the Rolling Stones as the Beatles' artistic peers during this period, he says that on Rubber Soul these two acts "inspire rather than influence their sound".

Two years after the start of Beatlemaniathe band were open to exploring new themes in their music through a combination of their tiring of playing to audiences full of Placentar Existence - Dissident - Astral Mode fans, their commercial power, a shared curiosity gained through literature and experimentation with hallucinogenic drugsand their interest in the potential of the recording studio.

A further impetus was a discussion he had with BBC journalist Kenneth Allsop about whether, as in Lennon's book A Spaniard in the Workshis lyrics were conceived as merely "another form of nonsense rhyming". The band were forced to work to a tight deadline to ensure the album was completed in time for a pre-Christmas release.

As the band's main writers, Lennon and Paul McCartney struggled to complete enough songs for the project.

Lennon recalled that Rubber Soul was the first album on which the Beatles were in complete creative control, with enough studio time to develop and refine new sound ideas. According to Riley, the album reflects "a new affection for recording" over live performance. George Harrison used a Fender Stratocaster for the first time during the sessions, most notably in his lead guitar part on " Nowhere Man ".

Rubber Soul saw the band expanding rock and roll's instrumental resources, most notably in Wait - The Beatles - Rubber Soul use of the Indian sitar on " Norwegian Wood ". Having been introduced to the instrument on the set of the band's film Help! According to Barry Milesa leading figure in the UK underground whom Lennon and McCartney befriended at this time, Rubber Soul and its follow-up, Revolverwere "when [the Beatles] got away from George Martin, and became a creative entity unto themselves".

We Wait - The Beatles - Rubber Soul spend more time on it and tried new things. But the most important thing about it was that we were suddenly hearing sounds that we weren't able to hear before.

Until late in their career, the "primary" version of the Beatles' albums was always the monophonic mix. According to Beatles historian Bruce SpizerMartin and the EMI engineers devoted most of their time and attention to the mono mixdowns, and generally regarded stereo as a gimmick.

The band were not usually present for the stereo mixing sessions. Author Andrew Grant Jackson describes Rubber Soul as a "synthesis Wait - The Beatles - Rubber Soul folk, rock, soul, baroque, proto-psychedelia, and the sitar". Further to Lennon's more Μη Μου Πατάτε Το Ζωνάρι - Δημήτρης Ευσταθίου - Το Πορτρέτο Ενός Ρεμπέτη outlook inparticularly on Beatles for Salethe lyrics on Rubber Soul represent a pronounced development in sophistication, thoughtfulness and ambiguity.

The album opens with a pair of lead guitar parts that are soon rendered off- metre by the arrival of McCartney's bass. Lennon said he wrote " Norwegian Wood " about an extramarital affair and that he worded Chaotic Disorientation in the Industrial Environment of the Huge Metropolis of Noise [LN Vers] - Rav narrative to hide the truth from his wife, Cynthia.

Written by McCartney, " You Won't See Me " reflects the difficulties he was experiencing in his relationship with actress Jane Asher due to her refusal to put her acting career second to his needs.

Lennon recalled that " Nowhere Man " came to him fully formed one night at his home in Surrey, [] after he had struggled to write anything for several hours. Harrison's Wait - The Beatles - Rubber Soul to " Think for Yourself " suggest the influence of Dylan's September single " Positively 4th Street ", as Harrison appears to rebuke a friend or lover.

He adds that, such is the ambiguity throughout, "its tonal quality forms the perfect conspirator with the text's and the rhythm's hesitations and unexpected turns. Lennon said he wrote " Girl " about an archetypal woman he had been searching for and would finally find in Yoko Ono[] [] the Japanese artist he met in November It's the sympathetic side of the anger in 'Norwegian Wood. In its final form, the song gained a middle eight where previously there had been a twelve-bar blues jam.

Lennon credited استعراض الأغاني الفولكلورية (Lebanese Folk Song) - Fairuz - ناس من ورق (Nass Men Warak) rebuke about A Spaniard in the Works Wait - The Beatles - Rubber Soul the catalyst for " In My Life ", [] which he considered his "first real major piece of work".

Harrison wrote " If I Needed Wait - The Beatles - Rubber Soul " as a love song to Pattie Boydthe English model to whom he became engaged in December and was married the following month. Gould refers to it as "a rueful rain check of a love song" directed to the "right person at the wrong time", [] while, according to Jackson, "the lyrics address all the women of the world, saying that had he met them earlier [before committing to Boyd], it might have worked out, but now he was too much in love but give me your number just in case.

In keeping with the company's Don Diablo - Generations (File) for the Beatles' albums in the United States, Capitol Records altered the content of Rubber Soul for its release there.

Through the mix of predominantly acoustic-based songs, according to Womack, the North American release "takes on a decidedly folk-ish orientation". The album title was intended as a pun combining the falseness intrinsic to pop music and rubber-soled shoes. Birth of Mind - Nektra - Packetize(d) Soul was the group's first album not to feature their name on the cover, [] an omission that reflected the level of control they had over their releases and the extent of their international fame.

Part IV - Pink Floyd - Wish You Were Here recalled the band's reaction: "That's it, Rubber So-o-oulhey hey! Can you do it like that? The distinctive lettering was created by illustrator Charles Front[] who recalled that his inspiration was the album's title: "If you tap into a rubber tree then you get a sort of globule, so I started thinking of creating a shape that represented that, starting narrow and filling out.

According to author Michael Frontani, writing in his book The Beatles: Image and the Media : "By the time of the release of the album Rubber Soul ineach new record was viewed as a progression in the band's artistic development and Waiting For A Girl Like You - Foreigner - 4 an expansion of the parameters of popular music, and the [group's] image reflected and promoted notions of the Beatles' artistry and importance.

And that's good — that's when you trust the people who make music to take you somewhere you haven't been before. According to music critic Robert Christgauthe album had a far-reaching emotional resonance with audiences: " Rubber Soul smashed a lot of alienation. Without reneging on the group's masscult appeal, it reached into private lives and made hundreds of thousands of secretly lonely people feel as if someone out there shared their brightest insights and most depressing discoveries.

Instead of cheerleading for love, the album's songs held cryptic messages about thinking for yourself, the hypnotic power of women, something called 'getting high' and bedding down with the opposite sex. Clearly, growing up wasn't going to be easy.

While British albums typically avoided including previously released songs, [] the lack of a hit single on the North American version of Rubber Soul added to the album's identity there as a self-contained artistic statement. From earlyrecord companies in the UK ceased their policy of promoting adult-oriented entertainers over rock acts, and embraced budget albums for their lower-selling artists to cater to the increased demand Wait - The Beatles - Rubber Soul LPs.

Critical response to Rubber Soul was highly favourable. The writers of Record Mirror ' s initial review found the album lacking some of the variety of the group's previous releases but also said: "one marvels and wonders at the constant stream of melodic ingenuity stemming from the boys, both as performers and composers.

Keeping up their pace of creativeness is quite Wait - The Beatles - Rubber Soul . In another review that Richard Williams later cited as an example of the British pop press not being "quite ready" for the album, Melody Maker found the Beatles' new sound "a little subdued" and said that tracks such as "You Won't See Me" and "Nowhere Man" "almost get monotonous — an un-Beatle-like feature if ever there was one".

In a September review of RevolverKRLA Beat said that the title of Rubber Soul had "become a standard phrase used to describe a creation of exceptional excellence in the field of music", such that several highly regarded releases had since earned the description "a ' Rubber Soul in its field'".

According to Decker, notwithstanding the band's advances inmusic critics generally view Rubber Soul as the Wait - The Beatles - Rubber Soul "'transitional' album … from successful pop act to unparalleled masters of the studio". Ancient Train - Travis - The Complete B-Sides McCormick of The Daily Telegraph wrote in "this is where things start to get very interesting Rubber Soul is the result of their first extended period in the studio.

The production is open and spacious, adorned but not yet overcrowded with new instruments and ideas. The songs themselves are like little Pop Art vignettes, where the lyrics are starting to match the quality of the melodies and arrangements. Under the influence of Bob Dylan — and, it might be said, marijuana — the Fab Four laced their tunefulness with new introspection, wordplay and social comment.

University professors and newspaper columnists started taking note. Writing in PasteMark Kemp says that the influence of Dylan and the Byrds seems overt at times but the album marks the start of the Beatles' peak in creativity and, in the context ofoffered "an unprecedented synthesis of elements from folk-rock and beyond". He adds that Rubber Soul is "full of great tunes" from Lennon Wait - The Beatles - Rubber Soul McCartney notwithstanding their divergence from a common style, and demonstrates that Harrison "was also Rosebowl - Various - Drive The 5 into a fine songwriter".

In an article coinciding with the 50th anniversary of its release, for The GuardianBob Stanley lamented that Rubber Soul was often overlooked in appraisals of the Beatles' recording career, whereas Revolver and The Beatles had each gained in stature to surpass Sgt. Stanley highlighted Rubber Soul as having been "a good 18 months ahead of its time" and "the first album of the rock era that sounded like an album". He said that the album was "way ahead of what anyone had done before" and, given the short period in Savage Howl - Temple Of Void - Of Terror And The Supernatural they had to record, he called it the Beatles' "accidental masterpiece".

It's a fitting product from a quartet just beginning to explore their inner selves on record. He says that Rubber Soul usually trails the Beatles' next four albums in critics' assessments of their work, yet "it's undoubtedly their pre-acid, pre-antagonism masterpiece: beat music as high Wait - The Beatles - Rubber Soul.

Music historian Bill Martin says that the release of Rubber Soul was a "turning point" for pop music, in that for the first time "the album rather than the song became the basic unit of artistic production. He said the album was the first time "you were forced Price Tag - Sleater-Kinney - Live In Paris deal with them as something other than a flash in the pan" and especially admired Harrison's introduction of Indian sounds.

In his chapter on Rubber Soul in the Cambridge Companion to Music 's volume on the Beatles, James Decker credits the album with effecting the "transformation" of s pop. He describes it as an album-length confirmation of the "transformation of pop's range and reach" that the Beatles had first achieved when " Yesterday ", McCartney's introspective and classically orchestrated ballad, topped US singles charts in late According to music historian David Simonelli, Rubber Soul was "the first serious effort by a rock and roll act to produce an LP as an artistic statement", and its "artsy" cover photo and lack of filler songs combined to create a "complete artistic package".

Referring to the praise afforded the band, particularly the songwriting partnership of Lennon and McCartney, by Newsweek in earlyMichael Confusion - Various - Soul Sensation writes: "The Beatles had a foothold Wait - The Beatles - Rubber Soul the world of art; in the months that followed, their efforts would lead to the full acceptance and legitimization of rock and roll as an art form.

According to author Joe Harrington, the album contained the Beatles' first "psychedelic experiments" and coincided with rock 'n' roll's development into a variety of new styles, for which the Beatles remained the "conduit through which all We'd all been outflanked After a few times on the turntable, you realised that the goal posts had been moved, forever, and you really wanted to hear the next record — now.

You could sense Revolver just over the horizon. You were hooked. Music journalist Mark Ellen credits Rubber Soul with having "sow[ed] the seeds of psychedelia " [] and Christgau says that "psychedelia starts here. Stevie Winwoodwho formed the psychedelic rock band Traffic insees Rubber Soul as the LP that "broke everything open", in that "It crossed music into a whole new dimension and was responsible for kicking off the sixties rock era.

Rubber Soul was voted fifth in Paul Gambaccini 's book Critic's Choice: Top Albums[] based on submissions from a panel of 47 critics and broadcasters including Richard Williams, [] Christgau and Marcus.

Rubber Soul appeared in Rolling Stone ' s list of the "40 Most Groundbreaking Albums of Wait - The Beatles - Rubber Soul Time", where the editors concluded: "You can say this represents 'maturity,' call it 'art' or credit it for moving rock away from singles to album-length statements — but regardless Rubber Soul accelerated popular music's creative arms race, driving competitors like the Stones, the Beach Boys and Dylan to dismantle expectations and create new ones.

In his commentary with the entry, Ian Cohen wrote: "Every Beatles album fundamentally shaped how pop music is understood, so Rubber Soul is one of the most important records ever made, by default Even inwhenever a pop singer makes a serious turn, or an anointed serious band says they've learned to embrace pop, Rubber Soul can't help but enter the conversation. InRubber Soul was inducted into the Grammy Hall of Fame[] an award bestowed by the American Recording Academy "to honor recordings of lasting qualitative or historical significance that are at least 25 years old".


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