Dizzy Miss Lizzy is frequently cited as a weak ending for Help, and I agree. But, aside from that, the same side two foreshadows Rubber Soul as well.
The mix of Hey Bulldog on 1+ is closer in sound to the original mix, whereas the YSS mix feels like it's trying to increase the clarity of each element (most obvious during the piano intro). I think the bass guitar sounds better in the 1+ mix but the YSS mix does mostly everything else better. It's interesting that in both mixes the 2nd snare overdub hit in the outro moves slightly leftward. Must be some leakage onto another track rather than a mixing error.
Yes and no. Lizzy would have fit nowhere else on Help. I would've put the high energy Rock n Roll Music at the end of BFS.
Up till Revolver, this was the rule…even though the debut album and the two movie albums did contain singles. Up to Rubber Soul, half of their albums did not contain any.
The bass is the slight disappointment on the YSS mix..it’s mixed too far back and that plucky, percussive quality is lost.
While I can’t say I “loathed” it at first listen which was in the mid eighties, I was let down by it, given all the outright accolades it began receiving around that time (much like the late-in-coming reverence for Revolver). It took me, literally three listens over a spread out period of about six years. I eventually grew to love it a *lot*; today it’s in my top ten.
The difference is that Run For Your Life and Maxwell’s Silver Hammer stick out like a sore thumb in a catalog of songs that have nothing but love, empathy, and emotional maturity.
I don’t know if anyone else feels this way but there’s something about PW that screams “stand alone single”. I *can* see it put on Revolver but it doesn’t feel particularly natural to me. Rain on the other hand fits right in.
I couldn't give a stuff if you care! I made a post giving my opinion on an album. That's what goes on here. You have absolutely no idea about other people's "judgements". What a completely ignorant and arrogant statement to make.
That's just your view though. There's no way you can pair Run For Your Life with Maxwell either. Like chalk and cheese!
You're probably right. I haven't analysed the elements in that way though. I just go by how a track hits me viscerally. Bulldog jumped out at me from the speakers on YSS and it really packs a punch!
If that were true, there wouldn't be many songs to like as John trashed many of them when he was in a bad mood. He doesn't care for AYBCS which I will continue to love regardless.
Weren’t Rubber Soul and Day Tripper/We Can Work It Out released on the same day in the US (and the UK)? In which case, including one or both sides of the single on the US Rubber Soul wouldn’t have been a problem. Unless there was another, unspoken, rule that all UK single A-sides had to be released in the US as well.
Rules derived from movie albums or from records released subsequently don't necessarily apply. When Rubber Soul came out, the Beatles were still keeping singles separate from albums as much as possible. For A Hard Day's Night and Help!, the movie studio wanted the title song to be a hit single, and clearly it had to be on the movie album as well; and the studio also wanted one of the band's recent hits ("Can't Buy Me Love", "Ticket to Ride") in the movie, and therefore, again, that song had to be on the album. If you exclude those two and the debut album (another special case, since the Beatles were new artists with no power), then the only UK single also included on a UK album prior to Yellow Submarine (another movie album, and one the Beatles regarded as a contractual obligation) is "Yellow Submarine"/"Eleanor Rigby", which, of course, came out about a year after Rubber Soul.
I've compiled alternate LPs, as part of writing exercise / fiction, and for three of their albums in a row — these two, and Rubber Soul — keeping them mostly similar to the actual albums and retaining 14 songs as the total number of tracks each, I've, among other alterations, changed the closer. It's funny, because I think the sequencing, including openings and closings, is one of the many great strengths of their albums. Revolver certainly launches and concludes perfectly I'd say. I think it's their perfect album, really— though maybe they have at least a couple others.
