{"id":8437,"date":"2021-07-05T14:38:25","date_gmt":"2021-07-05T19:38:25","guid":{"rendered":"https:\/\/thefest.com\/kdstaging2\/?p=8437"},"modified":"2021-07-05T14:41:28","modified_gmt":"2021-07-05T19:41:28","slug":"rubber-soul-deep-dive-part-7-michelle","status":"publish","type":"post","link":"https:\/\/staging.thefest.com\/rubber-soul-deep-dive-part-7-michelle\/","title":{"rendered":"Rubber Soul Deep Dive Part 7: Michelle"},"content":{"rendered":"

Here we go, Fest Family, with our seventh \u201cdeep dive\u201d of 2021 into The Beatles\u2019 exceptional LP, <\/em>Rubber Soul. I was thrilled to tackle this classic ballad with Jerry Hammack, respected author of <\/em>The Beatles Recording Reference Manuals<\/strong>. As an expert on precisely what transpired in EMI Studios, Jerry has a unique perspective on this song. (You\u2019ll be especially interested in his comments on the song\u2019s lead line!) He gives us an opportunity to examine \u201cMichelle\u201d with a fresh, new look even though it\u2019s a beloved song that we\u2019ve cherished for 56 years.<\/em><\/p>\n

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What\u2019s Standard:<\/strong><\/p>\n

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Date Recorded:<\/em><\/strong> 3 November 1965 <\/em><\/p>\n

Time Recorded:<\/em><\/strong> 2:30 – 11:30 p.m.<\/em><\/p>\n

Studio:<\/em><\/strong> EMI Studios, Studio 2<\/em><\/p>\n

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Tech Team<\/em><\/strong><\/p>\n

Producer:<\/em><\/strong> George Martin<\/em><\/p>\n

Engineer: <\/em><\/strong>Norman Smith<\/em><\/p>\n

Second Engineer: <\/em><\/strong>Ken Scott <\/em><\/p>\n

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Jerry Boys dropped in on the recording session but didn\u2019t work on the session. (Lewisohn, The Beatles Recording Sessions<\/em>, 67) Richard Lush and Jerry Boys did tape on the mixing sessions.<\/p>\n

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Stats:<\/em><\/strong> To quote Jerry Hammack, \u201cOne take was all that was required to perfect the backing track.\u201d (Vol. 2, p. 84) Of course, superimpositions would follow. <\/em><\/p>\n

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Instrumentation and Musicians:<\/em><\/strong><\/p>\n

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Paul McCartney<\/em><\/strong>, co-composer (Paul wrote the verses for this song from a \u201cparody\u201d song he had performed whilst at the Liverpool institute.) He sings lead vocals, plays bass on his 1964 Rickenbacker 4001S, plays acoustic guitar on his 1964 EpiphoneFT-79N and possibly, also supplies the lead guitar solo on his 1962 Epiphone ES-230TD. (Hammack, <\/em>The Beatles Recording Reference Manual, <\/em>Vol. 2: Help Through Revolver, 84)<\/em><\/p>\n

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John Lennon,<\/em><\/strong> co-composer (John devised the concept for this song from an old college tune he\u2019d heard Paul perform, and he wrote the song\u2019s middle eight.) John sings backing vocals. <\/em><\/p>\n

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George Harrison<\/em><\/strong> sings backing vocals. (Some sources attribute the lead line to George Harrison. Other sources attribute the rhythm line to George Harrison)<\/em><\/p>\n

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Ringo Starr<\/em><\/strong> plays drums on one of his Ludwig Oyster Black Pearl \u201cSuper Classic\u201d drum sets. (Hammack, 84)<\/em><\/p>\n

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Sources:<\/em><\/strong> Lewisohn, <\/em>The Complete Beatles Chronicle, 204-205, Lewisohn, <\/em>The Recording Sessions, 67, Margotin and Guesdon, <\/em>All the Songs, 292-294, Winn, <\/em>Way Beyond Compare, 372, Hammack, <\/em>The Beatles Recording Reference Manual, Vol. 2: Help Through Revolver, 84-85 and 250-253, Turner, <\/em>A Hard Day\u2019s Write, 94, Riley, <\/em>Tell Me Why, 162-163, Spizer, <\/em>The Beatles for Sale on Parlophone Records, 202, Spignesi and Lewis, <\/em>The 100 Best Beatles Songs, 237-239, Miles, <\/em>Paul McCartney: <\/em>Many Years From Now, 273-275 , MacDonald, <\/em>Revolution in the Head, 140-141, and Everett, <\/em>The Beatles as Musicians: The Quarry Men through Rubber Soul, 324-328. <\/em><\/p>\n

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What\u2019s Changed:<\/strong><\/p>\n

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  1. Lennon\/McCartney provide the second \u201ctrue collaboration\u201d on this LP \u2014 <\/strong>When The Beatles were searching for a few songs to fill out their Rubber Soul<\/em> retinue, John recalled a piece that Paul had performed during their college days \u2014 a song that parodied the French existential artistes<\/em>, such as Sacha Distel and Juliette Greco. He told Paul, \u201cD\u2019you remember the French thing you used to do at\u2026parties?…Well, that\u2019s a good tune. You should do something with that.\u201d (Miles, Paul McCartney: Many Years From Now,<\/em> 273) John encouraged Paul to \u201cdust off\u201d the clever, tongue-in-cheek ditty and rework it for the LP.<\/li>\n<\/ol>\n

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    As Paul began to re-shape the college piece into a ballad, John composed a touching middle eight that was derivative of love letters he had written to Cynthia during their college romance. In Ray Coleman\u2019s book, Lennon<\/em>, you can see one such letter on pp. 104-105. The \u201cI love you, I love you, I love you\/that\u2019s all I want to say\u201d line is almost a direct quote from John\u2019s early impassioned Christmas card to the girl he adored. He also suggested to Paul that the emphasis should fall on the word, \u201clove.\u201d (Turner, A Hard Day\u2019s Write,<\/em> 94) Years later, in the Playboy Interviews<\/em> with David Sheff, John states that the middle eight was also influenced by Nina Simone\u2019s \u201cI Put a Spell on You,\u201d but clearly, John had been penning lines such as these to Cynthia in the late 1950s.<\/p>\n

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    Very much like \u201cWe Can Work It Out\u201d in which Paul wrote the verses and John composed the middle eight \u2014 adding what John called \u201ca bluesy edge\u201d to this song \u2014 (Everett, The Beatles as Musicians, The Quarry Men through Rubber Soul,<\/em> 326) \u201cMichelle\u201d is a true collaborative effort.<\/p>\n

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    1. \u201cReunion\u201d with Ivy Vaughn \u2014 <\/strong>All of us know that Ivan \u201cIvy\u201d Vaughn brought Paul to the Woolton Garden F\u00eate in 1957 to hear the Quarry Men perform and to meet the group\u2019s founder and leader, John Lennon. Ivy\u2019s role in The Beatles\u2019 legend looms large! But he or rather his wife Jan, a French teacher, also figured into the creation of \u201cMichelle.\u201d Not being fluent in French and wanting to keep the song\u2019s female character a mysterious French femme fatale<\/em>, Paul rang the Vaughns, seeking Jan\u2019s help. He wanted a pet phrase that rhymed with \u201cMichelle\u201d (to which Jan supplied \u201cma belle\u201d<\/em>) and approving of that, he asked her, \u201cWhat\u2019s French for \u2018These are words that go together well?\u201d Of course, we all know Jan\u2019s response was: \u201cSont des mots qui vont tres bien ensemble.\u201d<\/em> And voila<\/em>! Once again, the Vaughn family had claimed a significant role in Beatles\u2019 history. (Miles, Many Years From Now,<\/em> 273-275)<\/li>\n<\/ol>\n

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      1. A brilliant study in contrasts \u2014<\/strong> Probably unintentionally, in \u201cMichelle,\u201d The Beatles gave us a study in contrasts: English boy\/French girl, electric instruments\/acoustic instruments, major chords\/minor chords. And interestingly, Stephen Spignesi points out that although this is a highly emotional song, \u201cPaul\u2019s vocal is restrained and (dare I say it) somewhat unemotional.\u201d (The 100 Best Beatles Songs,<\/em> 239) This balance of opposites makes the ballad unique. As Spignesi observes, \u201cThroughout the song, there is a sense of discretion. In a word, \u2018Michelle\u2019 is subtle. As it should be.\u201d (p. 239)<\/li>\n<\/ol>\n

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        A Fresh New Look: <\/strong><\/p>\n

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        Recently, Fest Blogger Jude Southerland Kessler, author of <\/em>The John Lennon Series<\/strong>, visited with author, Jerry Hammack about some of the finer points of Lennon\/McCartney\u2019s \u201cMichelle.\u201d Hammack\u2019s <\/em>The Beatles Recording Reference, Vol. 2: Help Through Revolver (1965-1966) <\/strong>\u2014 researched meticulously for over a decade \u2014 provides even more detailed information about this fan favorite. As an experienced Canadian-American musician, producer, and recording and mix engineer, Jerry Hammack has insights into this song that many of us would miss. Be sure to attend his presentations at The Fest, where he always a sought-after guest speaker! <\/em><\/p>\n

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        1. Jerry, one of the most interesting aspects of your analysis of this song in <\/em>The Beatles Recording Reference Manual, Vol. 2: Help! through Revolver (1965-1966)<\/strong> is your strong thesis that Paul (not George Harrison) performed the exquisite lead solo in \u201cMichelle.\u201d Please tell us about the evidence you\u2019ve amassed that supports this theory.<\/em><\/li>\n<\/ol>\n

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          There are multiple aspects of the solo part supporting the conclusion that Paul was responsible for this work on the song. The playing style of the part bears no resemblance to any of Harrison\u2019s playing during this period, while it has great similarity to Paul\u2019s bass work. The solo is played entirely in the mid-range of the guitar, much like a jazz-style bass solo would be played. Photographic evidence from sessions during this period show Paul\u2019s Epiphone guitar leaning against the Bassman amplifier, and the muted sound of the part would be consistent with the frequency characteristics of that amplifier as set up for bass playing, as well as the AKG D20 commonly used to mic that cabinet.<\/p>\n

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          But the primary evidence is the tape log, which accounts for an original tape and a tape reduction remix on a second reel.<\/p>\n

           <\/p>\n

          The performances for the song\u2019s arrangement are few \u2013 two acoustic guitars, bass, lead guitar, lead vocal and backing vocals. After the backing track of acoustic guitar, lead vocal and drums was completed, Paul superimposed bass and lead guitar onto the song, each onto their own track. The tape-to-tape reduction then made room for his final acoustic guitar (doubling parts of the original performance) and backing vocals by John, Paul and George.<\/p>\n

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          If George had played the solo, there would have been no need for a tape reduction remix. The four-track could have supported all the performances that make up the track without it. The only reason to put the bass and solo on separate tracks is because one person can\u2019t play both at the same time. That person is Paul.<\/p>\n

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          1. Jerry, in the \u201cWhat\u2019s New\u201d section, I talked briefly about the use of contrasts in this song. And one of those contrasts is the juxtaposition of major and minor chords. For those of us who aren\u2019t music experts, please tell us a bit about the clever way in which those major and minor chords are artfully employed in \u201cMichelle.\u201d <\/em><\/li>\n<\/ol>\n

             <\/p>\n

            Not that I\u2019m a music expert myself\u2026As Walter Everett notes, the song is mixed modally between F-major and F-minor, which is pretty sophisticated for a pop song. Paul even manages to throw in a few diminished, major and minor 7ths and 9ths. McCartney is believed to have drawn on influences as far ranging as French artists Sacha Distel and Juliette Greco for his inspiration, and perhaps, more practically, from lessons he learned in songs like “B\u00e9same Mucho” that also play with major\/minor inversions.<\/p>\n

             <\/p>\n

              \n
            1. You point out in your <\/em>Beatles Recording Reference Manual, Vol. 2<\/strong> that \u201cMichelle was the first track to feature bass as a superimposition.\u201d Why is it so important that the bass be given its own track in this song and in many Beatles songs to follow (especially the tracks on <\/em>Sgt. Pepper)?<\/em><\/li>\n<\/ol>\n

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              The reason the bass was given its own track in \u201cMichelle\u201d was a practical one as I\u2019ve noted earlier, but the benefit of recording it on its own is in control over the tone and volume level of the instrument when it came to creating a mix \u2014 in this case, a reduction mix. If it had been recorded with another instrument like a guitar, the volume relationships would already be fixed, and tonal decisions when it came to mixing would have to be balanced out. (A reduction mix is similar to a final mix.) Too much bass on a guitar signal and the guitar sounds muddy and thick \u2013 too much treble on a bass signal and it sounds thin.<\/p>\n

              The lessons learned with the control gained on the bass signal through the recording of \u201cMichelle\u201d didn\u2019t necessarily alter the approach to bass recording overall, but the approach was called upon again in the Pepper<\/em> era and whenever the sound that Paul wanted from the bass was more up-front and unique.<\/p>\n

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                \n
              1. As we discussed in the \u201cWhat We Know\u201d section, \u201cMichelle\u201d was rather hastily assembled in the autumn of 1965, and it was, originally, a wry spoof of French beatnik singers from Paul\u2019s Liverpool Institute days. And yet, this song emerges as anything but a lighthearted caricature. In fact, \u201cMichelle\u201d won the Grammy Award for \u201cSong of the Year\u201d in 1966. What makes this composition so brilliant? <\/em><\/li>\n<\/ol>\n

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                For myself, what makes the song so brilliant is that quality of complexity disguised as simplicity. The Beatles make the song sound almost effortless, natural, like it always existed, and they just happen to be playing it for us. As with the best actors, the effort is hidden; the impression is that of ease. There\u2019s nothing about \u201cMichelle\u201d that isn\u2019t sophisticated (and some cover versions fail by how painfully obvious they display the fact), but The Beatles flow through the track like a river that knows where it\u2019s going. It\u2019s just so naturally performed. Hiding behind that perception of ease is a beautifully complex song, adding a whole other level to the experience. The more you know about what The Beatles pulled off with \u201cMichelle\u201d, the more you enjoy it.<\/p>\n

                 <\/p>\n

                For more information on Jerry Hammack\u2019s The Beatles Recording Reference Manuals<\/em><\/strong>,<\/em> head here<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

                Here we go, Fest Family, with our seventh \u201cdeep dive\u201d of 2021 into The Beatles\u2019 exceptional LP, Rubber Soul. I was thrilled to tackle this classic ballad with Jerry Hammack, respected author of The Beatles Recording Reference Manuals. As an […]<\/p>\n","protected":false},"author":8,"featured_media":8439,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28],"tags":[98,139,89,117],"class_list":["post-8437","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-beatles","tag-jude-southerland-kessler","tag-michelle","tag-rubber-soul","tag-the-beatles"],"acf":[],"_links":{"self":[{"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts\/8437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcomments&post=8437"}],"version-history":[{"count":2,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts\/8437\/revisions"}],"predecessor-version":[{"id":8440,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/posts\/8437\/revisions\/8440"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=\/wp\/v2\/media\/8439"}],"wp:attachment":[{"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=8437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/staging.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=8437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}