The Beatles – Rubber Soul

xxxxx

  • This stunning copy boasts Shootout Winning Triple Plus (A+++) grades or close to it on both sides – exceptionally quiet vinyl too
  • The sound here is PHENOMENAL — big, bold, lively and powerful with the kind of dynamics that bring out the best in this music
  • Norweigan Wood and In My Life sound superb here, along with the rest of these wonderful Beatles classics, 14 in all
  • A Better Records Top 100 Title, 5 Stars on Allmusic, and a Masterpiece of mid-’60s Folk Rock
  • “The lyrics represented a quantum leap in terms of thoughtfulness, maturity, and complex ambiguities. Musically, too, it was a substantial leap forward, with intricate folk-rock arrangements that reflected the increasing influence of Dylan and the Byrds.”

Since this is one of the best sounding Beatles recordings, this could very well be some of the BEST SOUND you will ever hear on a Beatles album!

There’s wonderful ambience and echo to be heard. Just listen to the rimshots on Michelle — you can clearly hear the room around the drum. On the best pressings, like this one, Michelle is incredibly 3-D; it’s one of the best sounding tracks on the entire album, if not THE best.

What the best sides of this vintage UK pressing of Rubber Soul have to offer is not hard to hear:

  • The biggest, most immediate staging in the largest acoustic space
  • The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1965
  • Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
  • Natural tonality in the midrange — with all the instruments having the correct timbre
  • Transparency and resolution, critical to hearing into the three-dimensional space of the studio

No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the above.

Acoustic Guitars and Tambourines

After playing so many copies of this record over the last few years, all of us here at Better Records have come to appreciate just how wonderful an album Rubber Soul really is. It has 14 fairly compact, well-structured, well-arranged pop songs, each of which is a gem in its own right. It reminds me a bit of the second album (With The Beatles) in that respect — short and to the point, get in and get out.

But the second album does not feature acoustic guitars the way Rubber Soul does. From an audiophile point of view, the strumming of those lovely acoustic guitars is in large part what makes Rubber Soul such a special recording.

But what we’ve noticed only recently is how much the tambourine is used. It’s all over this album, and the good news is that most of the time it sounds great. There are other high frequency percussion instruments — shakers and the like — and between the tambourine and all the rest, there’s just a lot of percussive energy on most of the songs that really carries them along. To me, this could be called The Tambourine Album. No other Beatles album features that instrument so boldly in the mix and builds so many songs around it.

As you’ve no doubt read on the site more than once, a good LP allows you to appreciate the MUSIC even more than the sound. You feel like you are listening to what The Beatles wanted you to hear, the way they wanted you to hear it. This British pressing sounds like it was made from the real tape, mastered the way The Beatles wanted it to be mastered — and even pressed on pretty darn quiet vinyl.

TRACK LISTING

Side One

Drive My Car

Mobile Fidelity made a mess of this song on their Half-Speed Mastered release. They took out far too much upper midrange and top end.

What drives the energy of the song are the cow bell, the drums and other percussion. Instead of a scalpel Mobile Fidelity took a hatchet to this slightly bright track, leaving a dull, lifeless, boring mess. Some Parlophone copies may be a little bright and lack bass, but they still manage to convey the energy of the song. The purple label Capitols can also be quite good. A bit harsher and spittier, yes, but in spite of these shortcomings they communicates the music.

As much as I might like some of the MoFi Beatle records, and even what MoFi did with some of the other tracks on Rubber Soul, they sure sucked the life out of Drive My Car. We all remember how much fun that song was when it would come on the radio. Playing it on a very high quality stereo should make it more fun, not less. If you’ve got a Rubber Soul with a Drive My Car that’s no fun, it’s time to get another one.

Norwegian Wood

Those close-miked guitars can be a bit much unless you have a super-low-distortion copy.

John strums the hell out of his acoustic in the right channel, and on the best copies the sound of the guitar is very dynamic and energetic. No two copies will get that guitar to sound the same, and the more dynamic and lively it sounds, the better in my book.

Did The Beatles ever write a better song?

You Won’t See Me

Can be a bit midrangy in places.

Nowhere Man

Unless you have an especially good copy this song will sound VERY compressed. It’s much too thick and congealed on the average copy. The best pressings manage to find the richness in the overall sound as well as the breathiness in the vocals that others barely hint at. Play this track on whatever copies you own (more than one I hope) and see if it doesn’t sound as messy as we describe.

Think for Yourself

The better copies get this one tonally right on the money! That tambourine can be sweet.

The Word

This song rocks, with some of the best bass on the album. When the harmony vocals are added for the final chorus The Word takes off into the stratosphere. You won’t find a better Beatles song in their catalog.

Michelle

Sonic and musical perfection on the best copies! Vocals and guitars should sound present and clear, with Tubey Magic in spades.

Side Two

What Goes On

Wow, yet another track with superb, rich, full-bodied, smooth sound on the better pressings.

Girl

Tonally different from the above track; it should be cleaner but no less sweet.

I’m Looking Through You

If you don’t feel like singing along to this song something must be wrong somewhere. The track’s rhythmic qualities take on a momentum that builds the energy level higher and higher as the song progresses. Above all the sound should be immediate and lively. This is the song that really shows you the passion of The Beatles. Audiophile pressings and CDs don’t do that.

In My Life
Wait

Tons of energy on the drums in the left channel are a key test. In the right channel the shakers and tambourines are way up in the mix. The bass is a bit lean compared to the other tracks and tends to get a bit lost. If you can follow the bass throughout the song that’s a good sign.

Balancing the bass and drums in the left channel with the vocals and percussion in the right channel is not easy to do, which of course is what makes it a great test.

And how is it that none of the critics of “twin track stereo” — the two-track recording approach used on the first two albums, with the elements hard-panned left and right — has ever come clean about the obvious twin track sound of Rubber Soul? We used tracks four, five and six to test side two with, and in all three the vocals are hard panned right with most of the instruments hard-panned left. Why is it wrong for Please Please Me to sound that way — the mono mix being the critic’s choice — but fine for Rubber Soul to be heard that way?

If I Needed Someone

Silky and sweet on the best copies. Harrison’s double tracked vocal is especially well recorded, although somewhat hard to reproduce. VTA and setup in general are critical on this track.

Run for Your Life

Wow — the last song on Rubber Soul, Number 14 for those of you keeping track at home, is surely one of the best sounding.

The Beatles’ sixth album really goes out on a high note, with the band’s most consistent songwriting and production to date, all good reasons that Rolling Stone ranked it Number 5 of the 500 Greatest Albums of All Time.

Track by Track Commentary

Rubber Soul is one of the most difficult Beatles records to get to sound right. The individual tracks seem to vary drastically in terms of their sound quality. Some (What Goes On) sound sweet, rich and near perfect. Others (You Won’t See Me) can be thin and midrangy. What’s a mother to do?

I think what we’re dealing with here are completely different approaches to the final mix. The Beatles were experimenting with different kinds of sounds, and their experiments produced very different results from track to track on this album more than practically any other I can think of besides The White Album (which as you know was recorded in multiple studios by multiple producers and engineers).

Nowhere Man on side one and Wait on side two are both excellent test tracks. Click on the Track Listing tab above to read more about them both.

The Track Listing tab above will take you to an extensive song by song breakdown for each side, with plenty of What to Listen For (WTLF) advice.


This is the kind of record that really rewards a good cartridge/ arm/ table combination. You do not want to play this record with a lean or bright sounding cartridge, or a front end that does not track sibilance well. (I could name some equipment that I would not want to play this record on, but rather than insult the owners of such equipment, let’s just say they will have a tough time with this record.)

It’s also very handy to use a record like this for room treatmentb testing. With the vocals strictly in the right channel, your room treatments on the right side of the room can be tweaked for good vocal reproduction. The vocal for What Goes On is hard left, again, perfect for testing room treatments on that side.