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According to Richie Unterberger, "The Beatles and George Martin were beginning to expand the conventional instrumental parameters of the rock group, using a sitar on '[[Norwegian Wood (This Bird Has Flown)]]', French-like guitar lines on '[[Michelle (song)|Michelle]]' and 'Girl', fuzz bass on 'Think for Yourself', and a piano made to sound like a harpsichord on the instrumental [[bridge (music)|bridge]] of 'In My Life'."{{sfn|Unterberger|2009a}}
According to Richie Unterberger, "The Beatles and George Martin were beginning to expand the conventional instrumental parameters of the rock group, using a sitar on '[[Norwegian Wood (This Bird Has Flown)]]', French-like guitar lines on '[[Michelle (song)|Michelle]]' and 'Girl', fuzz bass on 'Think for Yourself', and a piano made to sound like a harpsichord on the instrumental [[bridge (music)|bridge]] of 'In My Life'."{{sfn|Unterberger|2009a}}


Musically, The Beatles broadened their sound, most notably with influences drawn from the contemporary folk-rock of [[Bob Dylan]] and [[The Byrds]].{{sfn|Rolling Stone|2007}}{{sfn|Groen|2008}} The album also saw The Beatles broadening rock and roll's instrumental resources, most notably on "[[Norwegian Wood (This Bird Has Flown)]]". Although innovations of the kind had been made before—British rock group [[The Kinks]], after a visit to India, recorded the influential "[[See My Friend]]",{{sfn|Bellman|1998|p=295}} which used droning guitars (mimicking the [[sitar]], an Indian stringed instrument) and a circular, hypnotic rhythm—"Norwegian Wood" is generally credited as being the first pop recording to use an actual sitar.{{sfn|Bellman|1998|p=294}} The track sparked a musical craze for the sound of the novel instrument in the mid-1960s—a trend which would later branch out into the [[raga rock]] and [[Indian rock]] genres.{{sfn|Bellman|1998|p=292}}{{sfn|Rolling Stone|2007}} The song is now acknowledged as one of the cornerstones of what is now usually called "[[world music]]" and it was a major landmark in the trend towards incorporating non-Western musical influences into Western popular music. [[George Harrison]] had been introduced to Indian classical music and the sitar earlier that year while filming ''[[Help! (film)|Help!]]''. That interest later was fuelled by fellow Indian music fan [[David Crosby]] of the Byrds, whom Harrison met and befriended in August 1965.{{sfn|Connors|2008}} Harrison soon became fanatically interested in the genre and began taking sitar lessons from renowned Indian sitar player [[Ravi Shankar]].{{sfn|Holmes|2008}} A broadening use of percussive arrangements, led by [[Ringo Starr]]'s backbeats and frequently augmented by maracas and tambourine, can also be heard throughout the album, showcased in tracks such as "[[Wait (The Beatles song)|Wait]]" and "[[Think for Yourself]]". Perhaps Starr's most unusual percussion source on the album, which was revealed by him to Barry Tashian of the Remains in the book ''Ticket To Ride'', is created by his tapping a pack of matches with his finger. This "tapping" sound can be heard in the background of "[[I'm Looking Through You]]".
Musically, The Beatles broadened their sound, most notably with influences drawn from the contemporary folk-rock of [[Bob Dylan]] and [[The Byrds]].{{sfn|Rolling Stone|2007}}{{sfn|Groen|2008}} The album also saw The Beatles broadening rock and roll's instrumental resources, most notably on "[[Norwegian Wood (This Bird Has Flown)]]". Although innovations of the kind had been made before—British rock group [[The Kinks]], after a visit to India, recorded the influential "[[See My Friend]]",{{sfn|Bellman|1998|p=295}} which used droning guitars (mimicking the [[sitar]] or the [[tanbura]], an Indian stringed instrument) and a circular, hypnotic rhythm—"Norwegian Wood" is generally credited as being the first pop recording to use an actual sitar.{{sfn|Bellman|1998|p=294}} The track sparked a musical craze for the sound of the novel instrument in the mid-1960s—a trend which would later branch out into the [[raga rock]] and [[Indian rock]] genres.{{sfn|Bellman|1998|p=292}}{{sfn|Rolling Stone|2007}} The song is now acknowledged as one of the cornerstones of what is now usually called "[[world music]]" and it was a major landmark in the trend towards incorporating non-Western musical influences into Western popular music. [[George Harrison]] had been introduced to Indian classical music and the sitar earlier that year while filming ''[[Help! (film)|Help!]]''. That interest later was fuelled by fellow Indian music fan [[David Crosby]] of the Byrds, whom Harrison met and befriended in August 1965.{{sfn|Connors|2008}} Harrison soon became fanatically interested in the genre and began taking sitar lessons from renowned Indian sitar player [[Ravi Shankar]].{{sfn|Holmes|2008}} A broadening use of percussive arrangements, led by [[Ringo Starr]]'s backbeats and frequently augmented by maracas and tambourine, can also be heard throughout the album, showcased in tracks such as "[[Wait (The Beatles song)|Wait]]" and "[[Think for Yourself]]". Perhaps Starr's most unusual percussion source on the album, which was revealed by him to Barry Tashian of the Remains in the book ''Ticket To Ride'', is created by his tapping a pack of matches with his finger. This "tapping" sound can be heard in the background of "[[I'm Looking Through You]]".


Recording innovations were also made during the recording of the album—for instance, the keyboard solo in "[[In My Life]]" sounds like a harpsichord, but was actually played on a piano. George Martin found he could not match the tempo of the song while playing in this [[Baroque music|baroque]] style, so he tried recording with the tape running at half-speed. When played back at normal speed during the mixdown, the sped-up sound gave the illusion of a harpsichord.{{sfn|Spitz|2005}}{{sfn|Lewisohn|1990}} Other production innovations included the use of electronic sound processing on many instruments, notably the heavily compressed and equalised piano sound on "[[The Word (song)|The Word]]"; this distinctive effect soon became extremely popular in the genre of [[psychedelic music]].
Recording innovations were also made during the recording of the album—for instance, the keyboard solo in "[[In My Life]]" sounds like a harpsichord, but was actually played on a piano. George Martin found he could not match the tempo of the song while playing in this [[Baroque music|baroque]] style, so he tried recording with the tape running at half-speed. When played back at normal speed during the mixdown, the sped-up sound gave the illusion of a harpsichord.{{sfn|Spitz|2005}}{{sfn|Lewisohn|1990}} Other production innovations included the use of electronic sound processing on many instruments, notably the heavily compressed and equalised piano sound on "[[The Word (song)|The Word]]"; this distinctive effect soon became extremely popular in the genre of [[psychedelic music]].

Revision as of 12:35, 1 May 2012

For the Serbian band, see Rubber Soul Project.

Untitled

Rubber Soul is the sixth studio album by the English rock group The Beatles, released in December 1965. Produced by George Martin, Rubber Soul had been recorded in just over four weeks to make the Christmas market. Unlike the five albums that preceded it, Rubber Soul was recorded during a specific period, the sessions not dashed off in between either tour dates or during filming projects.[1] After this, every Beatles album would be made without the need to pay attention to other commitments, except for the production of short promotional films or principal photography and editing to Magical Mystery Tour. The album was described as a major artistic achievement, attaining widespread critical and commercial success, with reviewers taking note of The Beatles' developing musical vision.[2]

The original United Kingdom release shows the "soul" influence of the album's title. Track list changes to the United States release, including two acoustic songs held over from the previous UK album, Help!, gave the US version a folk-rock feel which critics likened to Bob Dylan and The Byrds.

Rubber Soul was successful commercially and critically, and is often cited as one of the greatest albums in music history.[3][4][5][6] It was listed as number five on Rolling Stone magazine's "500 Greatest Albums of All Time list.

Composition

Music

"Michelle"
The Beatles's "Michelle" from Rubber Soul
Problems playing this file? See media help.

According to Richie Unterberger, "The Beatles and George Martin were beginning to expand the conventional instrumental parameters of the rock group, using a sitar on 'Norwegian Wood (This Bird Has Flown)', French-like guitar lines on 'Michelle' and 'Girl', fuzz bass on 'Think for Yourself', and a piano made to sound like a harpsichord on the instrumental bridge of 'In My Life'."[7]

Musically, The Beatles broadened their sound, most notably with influences drawn from the contemporary folk-rock of Bob Dylan and The Byrds.[5][8] The album also saw The Beatles broadening rock and roll's instrumental resources, most notably on "Norwegian Wood (This Bird Has Flown)". Although innovations of the kind had been made before—British rock group The Kinks, after a visit to India, recorded the influential "See My Friend",[9] which used droning guitars (mimicking the sitar or the tanbura, an Indian stringed instrument) and a circular, hypnotic rhythm—"Norwegian Wood" is generally credited as being the first pop recording to use an actual sitar.[10] The track sparked a musical craze for the sound of the novel instrument in the mid-1960s—a trend which would later branch out into the raga rock and Indian rock genres.[11][5] The song is now acknowledged as one of the cornerstones of what is now usually called "world music" and it was a major landmark in the trend towards incorporating non-Western musical influences into Western popular music. George Harrison had been introduced to Indian classical music and the sitar earlier that year while filming Help!. That interest later was fuelled by fellow Indian music fan David Crosby of the Byrds, whom Harrison met and befriended in August 1965.[12] Harrison soon became fanatically interested in the genre and began taking sitar lessons from renowned Indian sitar player Ravi Shankar.[13] A broadening use of percussive arrangements, led by Ringo Starr's backbeats and frequently augmented by maracas and tambourine, can also be heard throughout the album, showcased in tracks such as "Wait" and "Think for Yourself". Perhaps Starr's most unusual percussion source on the album, which was revealed by him to Barry Tashian of the Remains in the book Ticket To Ride, is created by his tapping a pack of matches with his finger. This "tapping" sound can be heard in the background of "I'm Looking Through You".

Recording innovations were also made during the recording of the album—for instance, the keyboard solo in "In My Life" sounds like a harpsichord, but was actually played on a piano. George Martin found he could not match the tempo of the song while playing in this baroque style, so he tried recording with the tape running at half-speed. When played back at normal speed during the mixdown, the sped-up sound gave the illusion of a harpsichord.[14][15] Other production innovations included the use of electronic sound processing on many instruments, notably the heavily compressed and equalised piano sound on "The Word"; this distinctive effect soon became extremely popular in the genre of psychedelic music.

As well as the sitar on "Norwegian Wood" and electronic innovations on "The Word", they voiced the drug-influenced peace-and-love sentiments that would colour many psychedelic lyrics.[16]

The song "Wait" was initially recorded for, and then left off, the album Help!. The reason the song was released on Rubber Soul was that the album was one song short, and with the Christmas deadline looming, The Beatles chose to release "Wait" instead of recording a new composition.

Lennon later said this was the first album on which The Beatles were in complete creative control during recording, with enough studio time to develop and refine new sound ideas.

Lyrics

Lyrically, the album was a major progression. Though a smattering of earlier Beatles songs had expressed romantic doubt and negativity, the songs on Rubber Soul represented a pronounced development in sophistication, thoughtfulness, and ambiguity.[7] In particular, the relationships between the sexes moved from simpler boy-girl love songs to more nuanced, even negative portrayals. "Norwegian Wood", one of the most famous examples and often cited as The Beatles' first conscious assimilation of the lyrical innovations of Bob Dylan, sketches a failed relationship between the singer and a mysterious girl, where she goes to bed and he sleeps in the bath.[17] "Drive My Car" serves as a satirical piece of sexism.[18] Songs like "I'm Looking Through You", "You Won't See Me", and "Girl" express more emotionally complex, even bitter and downbeat portrayals of romance, and "Nowhere Man" was arguably the first Beatles song to move beyond a romantic subject.

Recording

Until very late in their career, the "primary" version of The Beatles' albums was always the monophonic mix. According to Beatles historian Mark Lewisohn, producer George Martin and the Abbey Road engineers devoted most of their time and attention to the mono mixdowns, and the band were not usually present for the stereo mixing sessions. Even with their landmark Sgt. Pepper's Lonely Hearts Club Band LP, the stereo mixdowns were considered less important than the mono version and were completed in far less time.

While the stereo version of the original release of Rubber Soul was similar to that of their earliest albums, featuring mainly vocals on the right channel and instruments on the left, it was not produced in the same manner. The early albums were recorded on twin-track tape, and they were intended only for production of monaural records, so they kept vocals and instruments separated allowing the two parts to later be mixed in proper proportion. By this time, however, The Beatles were recording on four-track tape, which allowed a stereo master to be produced with vocals in the centre and instruments on both sides, as evidenced in their prior albums Beatles for Sale and Help!. But Martin was looking for a way to easily produce a stereo album which sounded good on a monaural record player. In what he admits was some experimentation, he mixed down the four-track master tape to stereo with vocals on the right, instruments on the left, and nothing in the middle, even though in "What Goes On", Ringo's vocal is mixed on the left instead of the right, with McCartney's harmony vocal on the right, while on "Think For Yourself" George's double-tracked lead vocal is split between the two channels.

"What Goes On" was the first song which has Ringo Starr (Richard Starkey) as co-composer beside Lennon–McCartney. The end of the song is different on the mono and stereo versions.

After completing the album and the accompanying single "We Can Work It Out" and "Day Tripper", The Beatles were exhausted from years of virtually non-stop touring, recording, and film work. They subsequently took a three-month break during the first part of 1966, and used this free time exploring new directions that would colour their subsequent musical work. These became immediately apparent in the next (UK) album, Revolver.[19]

This was the final Beatle album that recording engineer Norman Smith worked on before he was promoted by EMI to record producer.[20]

Instruments

By late 1965, The Beatles were beginning to expand the range of instruments used in their recordings. Photographs of the sessions reveal many different guitars and keyboards:

Lennon

McCartney

Harrison

  • 1962 Gibson J-160E[21] sunburst finish acoustic-electric guitar (purchased on hire purchase from Rushworths, Liverpool in June 1962. Brian Epstein settled the bill a year later[31]). As with Lennon's J-160E, this guitar was modified for the 'Rubber Soul' sessions by moving the pick-up to the bridge side of the sound hole)[25]
  • 1965 Rickenbacker 360/12[21] fireglo (red sunburst) finish electric 12-string guitar (custom built and presented to Harrison on 21 August 1965 at a press conference in Minneapolis, Minnesota, by radio station WDGY in association with local music store B-Sharp Music[32]))
  • 1961 Fender Stratocaster[21] in Sonic Blue finish (purchased by Mal Evans at the same time as Lennon's)[26]
  • Sitar (a cheap model purchased by Harrison from India Craft in London in 1965)[33]

Starr

Keyboards[35]

Amplifiers

Instruments belonging to Abbey Road Studios[35]

Packaging and concept

Album artwork

The photo of The Beatles on the Rubber Soul cover appears stretched. McCartney relates the story behind this in Volume 5 of the documentary film Anthology. Photographer Bob Freeman had taken some pictures of The Beatles at Lennon's house. Freeman showed the photos to the group by projecting them onto an album-sized piece of cardboard to simulate how they would appear on an album cover. The unusual Rubber Soul album cover came to be when the slide card fell slightly backwards, elongating the projected image of the photograph and stretching it. Excited by the effect, they shouted, "Ah! Can we have that? Can you do it like that?" Freeman said he could.

The distinctive lettering was created by Charles Front, and the original artwork was later auctioned at Bonhams, accompanied by an authenticating letter from Robert Freeman.[37]

Capitol Records used a different colour saturation for the US version, causing the orange lettering used by Parlophone Records to show up as different colours. On some Capitol LPs, the title looks rich chocolate brown; others, more like gold. Yet on the official 1987 CD of the British version, the Capitol logo is visible, and the letters are not brown, nor the official orange, but a distinct green. The 2009 CD reissue uses the original UK cover design with the Parlophone logo.

Rubber Soul was the group's first release not to feature their name on the cover. Though this was not the first time in rock/pop history this had been done (Elvis Presley, Them, and the Rolling Stones had done it previously), releasing an album without the artist's name on the cover was uncommon in 1965. Future Beatles albums, including Revolver, Abbey Road, Let It Be and the American compilation Hey Jude also have covers without the words 'The Beatles' on them. By contrast, The Beatles, commonly called the White Album, contained only the words 'The Beatles' on the cover.

Album title

McCartney conceived the album's title after overhearing a musician's description of Mick Jagger's singing style as "plastic soul". Lennon confirmed this in a 1970 interview with Rolling Stone, stating, "That was Paul's title... meaning English soul. Just a pun."[38] McCartney said a similar phrase, "Plastic soul, man. Plastic soul...", at the end of "I'm Down" take 1, on Anthology 2.

Release and aftermath

There were two different stereo versions released on vinyl in the US: the standard US stereo mix, and the "Dexter Stereo" version (also known as the "East Coast" version), which has a layer of reverb added to the entire album. The standard US stereo mix and the original mono mix are available on CD as part of The Capitol Albums, Volume 2 box set.

North American release

Rubber Soul, the ninth Capitol Records album and eleventh official US release (T-2442 & ST-2442), came out in the United States three days after the British release, and began its 59-week long chart run on Christmas Day. It topped the charts for six weeks from 8 January 1966, before dropping back. The album sold 1.2 million copies within nine days of its release, and to date has sold over six million copies in America.

Like other pre-Sgt. Pepper Beatles albums, Rubber Soul differed markedly in its US and UK configurations; indeed, through peculiarities of sequencing, the US Rubber Soul was deliberately reconfigured to appear a "folk rock" album to angle The Beatles into that emerging and lucrative American genre during 1965,[39] thanks to the addition of "I've Just Seen a Face" and "It's Only Love" (leftovers from the UK Help!) and the deletion of some of the more upbeat tracks ("Drive My Car", "Nowhere Man", "If I Needed Someone", and "What Goes On"). The tracks missing on the US version would later surface on the Yesterday and Today collection[2] (with "Nowhere Man" and "What Goes On" being released on a single in the meantime). The track variation resulted in a shorter album length, clocking in at 29:59. In addition, the stereo mix sent to the US from England has what are commonly called "false starts" at the beginning of "I'm Looking Through You." The track is also slightly shorter at the end. The false starts are on every American stereo copy of the album from 1965 to 1990 and are also on the CD boxed set, The Capitol Albums Vol. 2. The US version of "The Word" is also recognisably different because it has Lennon's double-tracked vocals, an extra falsetto harmony on the left channel during the last two refrains, maracas panning to the right channel during the instrumental break and then back to the left channel and the fade is a little longer. Also, on the US mono LP of this album, the version of "Michelle" has louder percussion and the fade-out runs ten seconds longer.

The Canadian LP shares the false start on "I'm Looking Through You".

CD re-issues

The album was released on CD in the UK and US on 30 April 1987, using the 14-song UK track line-up. Having been available only as an import in the US in the past, the 14 track UK version of the album was issued on LP and cassette on 21 July 1987. As with the CD release of the 1965 Help! album, the Rubber Soul CD featured a contemporary stereo digital remix of the album prepared by George Martin. Martin expressed concern to EMI over the original 1965 stereo remix, claiming it sounded 'very woolly, and not at all what I thought should be a good issue'. George Martin went back to the original four-tracks tapes and remixed them for stereo.[40] A few Canadian-origin CD editions of Rubber Soul and Help! accidentally use the original mix of the album, presumably due to a mix-up.

Rubber Soul is one of few albums released on the HDCD format with remastering by Fabulous Sound Labs.[41]

A newly-remastered CD version of the UK album, again utilising the 1987 George Martin remix, was released worldwide on 9 September 2009. The original 1965 stereo and mono mixes were reissued on that date as part of the mono box set.

Reception

Professional ratings
Review scores
SourceRating
Allmusic [42]
Blender [43]
MSN Music [44]
IGN(9/10) [45]
Pitchfork Media(10/10) [46]
Q [47]
The Telegraph [48]
Consequence of Sound [49]

The album was commercially successful, beginning a 42-week run in the British charts on 11 December 1965. On Christmas Day it replaced Help!—The Beatles' previous album—at the top of the charts, a position Rubber Soul held for eight weeks. On 9 May 1987, Rubber Soul returned to the album charts for three weeks,[50] and ten years later made another comeback to the charts.[51]

Critical response to the album was also positive. Rolling Stone magazine commented "they achieved a new musical sophistication and a greater thematic depth without sacrificing a whit of pop appeal." Pitchfork Media described the album as "the most important artistic leap in the Beatles' career—the signpost that signaled a shift away from Beatlemania and the heavy demands of teen pop, toward more introspective, adult subject matter". Since 2001, the album has been included in several media-sponsored "best" album lists.[3][4][5][6] In 2003, the album was ranked fifth on Rolling Stone magazine's 500 greatest albums of all time list.

The US version of the album greatly influenced the Beach Boys. Brian Wilson believed it was the first time in pop music that the focus had shifted from just making popular singles to making an actual album, without the usual filler tracks. He "answered" the album by releasing Pet Sounds in 1966.[52]

Track listing

UK release

All tracks are written by Lennon–McCartney except where noted

Side one
No.TitleLead vocalsLength
1."Drive My Car"McCartney, with Lennon2:25
2."Norwegian Wood (This Bird Has Flown)"Lennon2:01
3."You Won't See Me"McCartney3:18
4."Nowhere Man"Lennon, McCartney and Harrison2:40
5."Think for Yourself" (George Harrison)Harrison2:16
6."The Word"Lennon with McCartney and Harrison2:41
7."Michelle"McCartney2:40
Side two
No.TitleLead vocalsLength
1."What Goes On" (Lennon–McCartney–Richard Starkey)Starr2:47
2."Girl"Lennon2:30
3."I'm Looking Through You"McCartney2:23
4."In My Life"Lennon, with McCartney2:24
5."Wait"Lennon and McCartney2:12
6."If I Needed Someone" (Harrison)Harrison2:20
7."Run for Your Life"Lennon2:18

Track listing per Calkin[53]

North American version

All tracks are written by Lennon–McCartney except where noted

Side one
No.TitleLead vocalsLength
1."I've Just Seen a Face"McCartney2:07
2."Norwegian Wood (This Bird Has Flown)"Lennon2:05
3."You Won't See Me"McCartney3:22
4."Think for Yourself" (Harrison)Harrison2:19
5."The Word"Lennon with McCartney and Harrison2:43
6."Michelle"McCartney2:42
Side two
No.TitleLead vocalsLength
1."It's Only Love"Lennon1:55
2."Girl"Lennon2:33
3."I'm Looking Through You"McCartney2:31
4."In My Life"Lennon and McCartney2:27
5."Wait"Lennon and McCartney2:16
6."Run for Your Life"Lennon2:18

Chart positions

Chart Year Peak
position
UK Albums Chart[54] 1965 1
UK Albums Chart[54] 1966
Billboard 200 Pop Albums
Australian Albums Chart

Personnel

The Beatles
  • John Lennon: lead and backing vocals, rhythm guitar, six and twelve string acoustic guitars, electric piano, harmonium, tambourine, cowbell, maracas
  • Paul McCartney: lead and backing vocals, lead and acoustic guitars, bass, fuzz bass, acoustic and electric piano
  • George Harrison: lead, rhythm and acoustic guitars, twelve string acoustic and electric guitars, sitar on "Norwegian Wood (This Bird Has Flown)", bass, lead and backing vocals
  • Ringo Starr: drums, tambourine, maracas, cowbell, lead vocals on "What Goes On", Hammond organ on "I'm Looking Through You"
Additional musicians and production staff

According to Mark Lewisohn,[55] Ian MacDonald[56] and The Beatles anthology[57]

Notes

  1. ^ Lewisohn, 1990, passim
  2. ^ a b Gilliland 1969, show 35.
  3. ^ a b Q 2007.
  4. ^ a b VH1 2001.
  5. ^ a b c d Rolling Stone 2007.
  6. ^ a b Time 2007.
  7. ^ a b Unterberger 2009a.
  8. ^ Groen 2008.
  9. ^ Bellman 1998, p. 295.
  10. ^ Bellman 1998, p. 294.
  11. ^ Bellman 1998, p. 292.
  12. ^ Connors 2008.
  13. ^ Holmes 2008.
  14. ^ Spitz 2005.
  15. ^ Lewisohn 1990.
  16. ^ Unterberger 2009b.
  17. ^ Unterberger 2009c.
  18. ^ Unterberger 2009d.
  19. ^ Marck 2008.
  20. ^ natas. "Norman Hurricane Smith "The Sound of The Beatles"". Earcandymag.com. Retrieved 26 February 2012.
  21. ^ a b c d e f g h i j k l m n o Babiuk 2002, p. 170.
  22. ^ Babiuk 2002, pp. 116–117.
  23. ^ Babiuk 2002, p. 163.
  24. ^ Babiuk 2002, p. 143.
  25. ^ a b Babiuk 2002, p. 172.
  26. ^ a b Babiuk 2002, p. 157.
  27. ^ Babiuk 2002, p. 160.
  28. ^ Babiuk 2002, pp. 98–99.
  29. ^ a b Babiuk 2002, p. 152.
  30. ^ a b c Babiuk 2002, p. 173.
  31. ^ Babiuk 2002, p. 72.
  32. ^ Babiuk 2002, pp. 166–167.
  33. ^ Babiuk 2002, p. 169.
  34. ^ Babiuk 2002, p. 165.
  35. ^ a b c Babiuk 2002, p. 171.
  36. ^ Babiuk 2002, p. 133.
  37. ^ Bachelor 2007.
  38. ^ Wenner 2000.
  39. ^ Johnson 2009.
  40. ^ Kozinn 1987.
  41. ^ "The Beatles - Rubber Soul (FSL) - HDCD". Avaxhome.ws. Retrieved 26 February 2012.
  42. ^ https://www.allmusic.com/album/rubber-soul-r1701847
  43. ^ [1][dead link]
  44. ^ "Rubber Soul by The Beatles on MSN Music". Music.msn.com. Retrieved 26 February 2012.
  45. ^ Spence D. "The Beatles - Rubber Soul - Music Review at IGN". Uk.music.ign.com. Retrieved 26 February 2012.
  46. ^ "The Beatles: Rubber Soul | Album Reviews". Pitchfork. 9 September 2009. Retrieved 26 February 2012.
  47. ^ "Q Magazine | Music news & reviews, music videos, band pictures & interviews". Q4music.com. Retrieved 26 February 2012.
  48. ^ McCormick, Neil (7 September 2009). "The Beatles - Rubber Soul, review". The Daily Telegraph. London.
  49. ^ "Album Review: The Beatles – Rubber Soul [Remastered] « Consequence of Sound". Consequenceofsound.net. 19 September 2009. Retrieved 26 February 2012.
  50. ^ Chart Stats 2009a.
  51. ^ Chart Stats 2009b.
  52. ^ Howard 2004, p. 64.
  53. ^ "Rubber Soul". Jpgr.co.uk. Retrieved 26 February 2012.
  54. ^ a b "Chart Stats - The Beatles - Rubber Soul". chartstats.com. Retrieved 3 June 2011.
  55. ^ LEWISOHN, M. (2000). The Beatles Recording Sessions. The Official Story of the Abbey Road Years. 1962-1970. China: Prospero Books, 208 pp. First edition, 1988.
  56. ^ MacDonald 2005, pp. 174–175.
  57. ^ The Beatles 2000, p. 194.

References

Preceded by Billboard 200 number-one album
8 January – 18 February 1966 		Succeeded by
Going Places
by Herb Alpert and His Tijuana Brass
Preceded by
Help! by the Beatles
 Australian Kent Music Report number-one album
26 February – 6 May 1966
14–20 May 1966 		Succeeded by
What Now My Love
by Herb Alpert & the Tijuana Brass
Preceded by
The Sound of Music by Original Soundtrack
 UK Albums Chart number-one album
25 December 1965 – 19 February 1966 		Succeeded by
The Sound of Music by Original Soundtrack

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