I think they were quietly proud of those things." if it sounds crappy we'll lose it, but it might just sound good.' You'd then find, 'Oh it worked,' and they were secretly glad because they had been the engineer who put three times the allowed value of treble on a song. And if that's not enough we'll go through another lot of faders.' They said, 'We don't do that,' and we would say, 'Just try it. ![]() The engineer said, 'Alright, I'll put full treble on it,' and we said, 'That's not enough.' He said, 'But that's all I've got.' And we replied, 'Well, put that through another lot of faders and put full treble up on that. PAUL 1988: "I remember we wanted very treble-y guitars- which they are- they're among the most treble-y guitars I've ever heard on record. I think at that point in his life, he was a bit wondering where he was going." PAUL 1984: "That was John after a night out, with dawn coming up. You put your finger on it, it slips away, right? You know, you turn the lights on and the cockroaches run away. So letting it go is what the whole game is. Then 'Nowhere Man' came, words and music. JOHN 1980: "I'd spent five hours that morning trying to wite a song that was meaningful and good, and I finally gave up and lay down. It was 100 percent me, but I am always happy to give John a credit because there's always a chance that on the session he might have said, 'That'd be better.'" Then I wrote the tune for 'You Won't See Me' against it. PAUL circa-1994: "Normally I write on guitar and have full chords, or on piano and have full chords, but this was written around two little notes, a very slim phrase- a two-note progression that I had very high on the first two strings of the guitar. PAUL 1985: "It was me who decided in 'Norwegian Wood' that the house should burn down. But I can't remember any specific woman it had to do with." but in such a smoke-screen way that you couldn't tell. ![]() I'd always had some kind of affairs going on, so I was trying to be sophisticated in writing about an affair. I was very careful and paranoid because I didn't want my wife, Cyn, to know that there really was something going on outside of the household. JOHN 1980: "'Norwegian Wood' is my song completely. GEORGE 1980: "I had bought, earlier, a crummy sitar in London. then we came back to it, and somehow it became 'drive-my-car' instead of 'gol-den-rings,' and then it was wonderful- because this nice tongue-in-cheek idea came." We can do it, we can do it.' So we had a break. I came in and I said, 'These aren't good lyrics but it's a good tune.' Well, we tried, and John couldn't think of anything, and we tried, and eventually it was, 'Oh let's leave it, let's get off this one.' 'No, no. 'Rings' is fatal anyway, 'rings' always rhymes with things and I knew it was a bad idea. The lyrics I brought in were something to do with golden rings, which are always fatal (to songwriting). PAUL circa-1994: "This is one of the songs where John and I came nearest to having a dry session. JOHN 1980: "His (Paul's) song, with contributions from me." ![]() We played the lead part later on top of it." And I played the line on the guitar and Paul laid that with me on the bass. But on 'Drive My Car' I just played the line, which is really like a lick off 'Respect,' you know, the Otis Redding version. GEORGE 1977: "If Paul had written a song, he'd learn all the parts and then come in the studio and say 'Do this.' He'd never give you the opportunity to come out with something. ![]() We Can Work It Out/Day Tripper (UK release: 12/3/65) Rubber Soul Originally released in the UK, December 3, 1965 Beatles Songwriting & Recording Database: Rubber Soulīeatles Ultimate Experience: Songwriting & Recording Database: Rubber Soul
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