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The US "Rubber Soul" album reached 1 in early January and stayed there for six weeks during an initial chart run of 51 weeks.

I think grass was really influential in a lot of our changes, especially with the writers. I think it's a great album. They were trying out new instruments and always coming to me saying, 'What, what ideas have you got for this?

More of the same, but fine tuning it. I mean we certainly knew we were making a good album, then.

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I just picked the sitar up and kind of found the notes, and I just kind of played it A lot of soul, that music'. Seemed nice and amusing.

Rubber Soul

Very us - you know, very whacky. Rubber Soul. Following a deserved holiday, the guys returned to the studios in mid October, not only to record the album but also a new single - their first double A-side featuring "Day Tripper" and "We Can Work It Out" The album consisted of eleven songs by John and Paul, two by George and another with the unique writing credit of Lennon-McCartney-Starkey. The album spent nine weeks at the album chart summit in the UK during a healthy 43 chart stay.

The Beatles' first undisputed masterpiece is their quietest and most folky record, reflecting the influences of contemporaries like Dylan and the Byrds.

To modern ears, Rubber Soul and its pre-psychedelic era mix of s pop, soul, and folk could seem tame, even quaint on a cursory listen. But it's arguably 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. It's also the record that started them on their path toward the valuation of creating studio records over live performance. If nothing else, it's the record on which their desire for artistic rather than commercial ambition took center stage-- a radical idea at a time when the success of popular music was measured in sales and quantity rather than quality.

Rubber Soul - Beatles Wiki - Interviews, Music, Beatles Quotes

Indeed, at the time the Beatles did need a new direction: Odd as it seems today, the lifespan of a pop band's career in the early 60s could often be measured in months, sometimes in years, rarely in three-year increments. And by , the Beatles were in danger of seeming lightweight compared to their new peers: The Who's sloganeering, confrontational singles were far more ferocious; the Rolling Stones' " I Can't Get No Satisfaction" was a much more raucous, anti-ennui cry than the Beatles' "Help!

By comparison, most of the Beatles music to date was either rock'n'roll covers or originals offering a mostly wholesome, positive take on boy-girl relationships. Dylan and the Byrds' fingerprints had been left on Help! Even Paul McCartney's "Yesterday" found him strumming an acoustic.

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All this at a time when Dylan was beginning to move in the other direction and fully enter his electric period. Harrison was growing more serious on the political "Think for Yourself", while "If I Needed Someone"-- his other contribution to Rubber Soul -- is practically a Byrds pastiche and his chiming, sure-footed solo on "Nowhere Man" also displays a debt to that band.

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His deft touch is all over the record in subtle ways-- appropriate for an album full of finesse and small wonders the ping at the end of the "Nowhere Man" solo, Lennon's exhalation in the chorus of "Girl", the "tit-tit-tit" of the backing vocalists in the same song, the burbling guitar in "Michelle". The most lasting influences of Dylan and the Byrds on the Beatles, however, were likely their roles in introducing the group to recreational drugs: Dylan shepherded the quartet through their first experience with pot, while the Byrds were with three-fourths of the Beatles when they first purposefully took LSD.