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They'd shown no sign of flagging as far as their musical creativity was concerned.
On the contrary, they were becoming more and more productive,
and the work they were giving me was much more interesting.
They were finding new frontiers all the time.
Our whole attitude was changing...
We'd grown up a little.
I think grass was really influential in a lot of our changes.
Especially with the writers.
Because they were writing different stuff, we were playing differently.
We were all expanding in all areas of our life,
opening up to a lot of different attitudes.
The direction was just changing away from the sort of "Thank You Girl", of the poppy stuff,
you know, from the early stuff, "From Me To You", "She Loves You".
It was all really, the early stuff, was directly relating to your fans,
kind of really saying, please buy this record.
You know, "Thank You Girl", "P.S. I Love You", it was all very that.
And I think, you know, there came a point where we thought, we'd done enough of that, we can branch out a little bit
into songs that are a little bit more surreal, a little bit more entertaining.
And other people would start to arrive on the scene that were a little bit influential,
and I don't know really whether we'd been influenced...
I think Dylan was starting to influence us quite heavily at that point.
When it got sort of contemporary as it were, even if it was contemporary influence...
I think "Rubber Soul" was about when it started happening.
"Rubber Soul" really was a matter of having all experienced the recording studio, having grown musically as well,
but mainly having experienced the studio, and knowing the possibilities.
We always wanted every single record to have a different sound.
We were getting more fine-tuned, really...
More of the same, but fine-tuning it...
- OK, Let's take it from the top and run it. - Don't take it from the top...
- I mean... - From the same place. - Yes, OK.
I guess that their success gave them confidence to do things which they wouldn't dare do before.
It was just around that period,
when we were all getting into various, different kinds of music,
and George's became Indian.
And all of us were listening to sort of classical, and various types of music,
other than our own and our rock'n'roll kinda roots,
and George just sort of moved into the Indian thing.
I think he'd give you a better explanation of just sort of when it was.
Well actually, during the filming of "Help!",
there were some Indian musicians in a restaurant scene,
and I kind of messed around with the sitar then...
But, during that year, towards the end of the year anyway,
I kept hearing the name of Ravi Shankar. I heard it about three times,
and about the third time I heard it, it was some friend of mine who said:
"Have you heard this person, Ravi Shankar?"
So I went out and bought the record, and...
That was it, I just felt...
It felt very familiar to me to listen to that music.
And so, it was around that time I bought a sitar,
I just bought like a cheap sitar in a shop called India Craft in London, and...
It was lying around. I hadn't really figured out what to do with it,
and when we were working on "Norwegian Wood", it just needed something, you know,
and it was quite spontaneous, from what I remember...
I just picked the sitar up, and kinda found the notes and I just kind of played it...
We just miked it up and we put it on and it just seemed to hit the spot.
They were getting more and more interested in unusual sounds, and...
They were trying out new instruments and always coming to me saying:
"What ideas have you got for this?"
"Yesterday" had been a breakthrough... The first time we'd ever used other instrumentalists on the records...
The only person who'd ever played with them before was me,
and now we had a group of other musicians,
so we weren't averse to using other people or other sounds.
And "Rubber Soul" was an indication of the way things were gonna go.
It's one of my favorite albums. It's a great album.
That was my favourite, you know, at that time. I think that was the best one we'd made.
I mean, we certainly knew we were making a good album then.
And the cover, the cover story, you know the cover, where we looked stretched, the photo stretched...
That was the kind of thing would happen then, which we were all very into
that kind of random, little exciting thing that would happen.
And the photographer was Bob Freeman, and he'd taken some pictures round at John's house in Weybridge,
and we just had our new gear on, the polo necks,
and we were doing straight mug shots, four of us all posing.
And he came back in London, he was in someone's flat,
and he was showing us, he had a little carousel of slides,
and he had a piece of cardboard stuck up on a little chair that was album cover size,
and he was projecting the photographs exactly on to it, cause you could imagine exactly how it would look then as an album cover...
It was kind of a good way to do it. We'd just chosen the photo. We said, "That one looks good",
We all liked ourselves in one particular shot,
and he was just winding up when the card it was on just fell backwards a little bit,
and it elongated the photo and it stretched, and we went, "Oh! Can we have that? Can you do it like that?"
He said "Well, yeah, I could print it like that", so... "Yeah, that's it... Rubber Soul!"
You see, there's no great mysterious meaning behind all of this...
It was just four boys, you know, working out what to call their new album.
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The Beatles - The Making Of "Rubber Soul" (lyrics)

1347 Folder Collection
Sgt. Pepper published on April 26, 2015
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