{"id":8424,"date":"2021-05-03T16:01:46","date_gmt":"2021-05-03T21:01:46","guid":{"rendered":"https:\/\/www.thefest.com\/?p=8424"},"modified":"2021-05-03T16:02:23","modified_gmt":"2021-05-03T21:02:23","slug":"rubber-soul-deep-dive-part-5-think-for-yourself","status":"publish","type":"post","link":"https:\/\/www.thefest.com\/rubber-soul-deep-dive-part-5-think-for-yourself\/","title":{"rendered":"Rubber Soul Deep Dive Part 5: Think For Yourself"},"content":{"rendered":"

Side One, Track Four<\/strong><\/p>\n

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Harrison\u2019s Mantra: \u201cThink for Yourself\u201d<\/p>\n

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by Jude Southerland Kessler and Janet Davis<\/p>\n

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Through 2021, the Fest for Beatles<\/strong> Fans<\/strong> blog has been exploring the nooks and crannies in The Beatles\u2019 remarkable 1965 LP, <\/em>Rubber Soul. This month, Fest Historians Panel member and editorial staffer for the respected Beatles fanzine <\/em>Octopus\u2019 Garden, Janet Davis<\/strong>, joins Jude Southerland Kessler, author of The John Lennon Series<\/strong>, for a deep dive into one of George Harrison\u2019s two original songs on the trend-setting album. Join them for an exploration of \u201cThink for Yourself.\u201d<\/em><\/p>\n

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

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Date Recorded:<\/em><\/strong> Monday, 8 November 1965<\/em><\/p>\n

Time Recorded:<\/em><\/strong> 9:00 p.m. – 3:00 a.m.<\/em><\/p>\n

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

\u00a0<\/em><\/p>\n

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 (and Jerry Boys, according to Margotin and Guesdon)<\/em><\/p>\n

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Stats:<\/em><\/strong> With a working title of \u201cWon\u2019t Be There with You,\u201d this song was recorded during the early part of this lengthy session, and The Beatles\u2019 annual Christmas flexi-disc was recorded later. Strangely, the entire session (not just the recording for the flexi-disc) was recorded, and knowing this, The Beatles put on quite a show! John Winn, in <\/em>Way Beyond Compare, tells us that they exaggerated their Scouse accents and hammed it up. Winn says, \u201c\u2026references [were] made to Juke Box Jury, Cynthia Lennon, TV deodorant jingles, \u201cYesterday,\u201d Rocky Marciano, the Supermarionation series <\/em>Supercar and <\/em>Stingray, uptight thespians, Frankie Howerd, \u201cDo You Want to Know a Secret,\u201d Woody Woodpecker, and Humphrey Bogart.\u201d (p. 374) <\/em><\/p>\n

\u00a0<\/em><\/p>\n

The backing track was captured in one take, with many superimpositions to follow.<\/em><\/p>\n

\u00a0<\/em><\/p>\n

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

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There is a great deal of disagreement<\/strong> among Beatles music experts as to who is doing what on this track. Here are all of the options. Please listen to the song once again and then, \u201cThink for Yourself.\u201d<\/em><\/p>\n

\u00a0<\/em><\/p>\n

George Harrison<\/em><\/strong>, the composer, sings lead vocal, plays rhythm on either his 1963 Gretsch G6119 Chet Atkins Tennessean electric guitar or his 1961 \u201cSonic Blue\u201d Fender Stratocaster electric guitar.<\/em><\/p>\n

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John Lennon<\/em><\/strong> sings backing vocals. Some sources say that John also played guitar on his 1964 Rickenbacker 325 Capri electric guitar or his Sonic Blue 1961 Fender Stratocaster guitar (matching George\u2019s guitar). Other sources credit John with playing the Pianet electric piano on this song, not the guitar. Still others say John is playing the Hammond organ RT-3, not guitar. <\/em><\/p>\n

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Paul McCartney<\/em><\/strong> sings backing vocals and plays his 1961 Rickenbacker 4001S bass.<\/em><\/p>\n

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Ringo Starr<\/em><\/strong> plays one of his Ludwig Oyster Black Pearl Super Classic drum sets, mans the cowbell, and possibly the tambourine. In superimpositions, Ringo added in maracas and tambourine. <\/em><\/p>\n

\u00a0<\/em><\/p>\n

The unusual bass distortion<\/em><\/strong> featured in \u201cThink for Yourself\u201d is provided by a fuzz box, employed by Paul McCartney. Some sources state that Paul is using a Gibson Maestro Fuzztone distortion box while others say he is using the Tone Bender fuzz box MK1, adding that it is the same fuzz box he used for the recording (years later) for \u201cMean Mr. Mustard\u201d on <\/em>Abbey Road. For a lengthier discussion, check the sources below. <\/em>Beatles Gear includes a thorough discussion of all the \u201cins and outs\u201d on this particular issue. This is quite a debate! <\/em><\/p>\n

\u00a0<\/em><\/p>\n

Sources:<\/em><\/strong> Lewisohn, <\/em>The Complete Beatles Chronicle, 205, Lewisohn, <\/em>The Recording Sessions, 67, Everett, <\/em>The Beatles as Musicians: The Quarry Men Through Rubber Soul, 330-331, Margotin and Guesdon, <\/em>All the Songs, 288-289, Winn, <\/em>Way Beyond Compare, 373-374, Hammack, <\/em>The Beatles Recording Reference Manual, 90-91, Turner, <\/em>A Hard Day\u2019s Write, 92, Spizer, <\/em>The Beatles for Sale on Parlophone Records, 200 and 202, and Babiuk, <\/em>Beatles Gear, 173,<\/em> http:\/\/www.beatlesebooks.com\/think-for-yourself<\/a>, and <\/em>Think For Yourself \u2013 The Beatles Bible<\/a>.<\/p>\n

\u00a0<\/em><\/p>\n

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

\u00a0<\/strong><\/p>\n

    \n
  1. A \u201cSilly Love Song\u201d Theme – <\/strong>Just as John did with \u201cNowhere Man,\u201d here George purposely writes a song that is not<\/em> a love song. Indeed, BeatlesBible.com refers to \u201cThink for Yourself\u201d as the group\u2019s \u201cfirst philosophical song.\u201d Unfortunately, years later, George had absolutely no recollection of why he wrote this indignant song or to whom. He said he might have written it to the government.<\/li>\n<\/ol>\n

     <\/p>\n

    Harrison\u2019s inspirational motives aside, \u201cThink for Yourself\u201d does show a divergence into topics unrelated to happy or unhappy love relationships. The Beatles of Rubber Soul<\/em> are now composing story songs, wryly humorous songs, and this track: a blunt statement of utter disgust. Variety was the order of the day. And the LP\u2019s diversity certainly appealed to New Musical Express <\/em>critic Allen Evans, who upon Rubber Soul<\/em>\u2019s release wrote: \u201c[The] great thing about this LP is that The Beatles are finding different ways to make us enjoy listening to them.\u201d (Spizer, 200)<\/p>\n

     <\/p>\n

      \n
    1. A Willingness to Create a Non-Commercial Song<\/strong> –<\/strong> All of The Beatles had to have realized that \u201cThink for Yourself\u201d would not be a chart-topper. However, since it always took four \u201cyes\u201d votes for a track to be accepted onto a Beatles\u2019 LP, all four boys had to have approved the track. The lads have come a long way from the days of \u201cTell Me Why\u201d and \u201cFrom Me to You\u201d when songs needed to be sure-fire hits, sometimes lacking in depth. The Beatles are now reaching for something more significant than popularity. They are endeavoring to make a statement, to say something they feel is important. It\u2019s a risk, but by October of 1965, The Beatles are in perfect position to chance this. From Rubber Soul<\/em> on, their songs will increasingly address thoughtful and solemn subjects such as taxes, runaways, depression, death, loneliness, and revolution. The boys (now men) are no longer simply \u201cchart toppers.\u201d They are becoming the multi-faceted \u201cSpokespersons of an Era.\u201d<\/li>\n<\/ol>\n

       <\/p>\n

        \n
      1. A Maturing Sound<\/strong> –<\/strong> George Harrison certainly played a pivotal role in introducing strange, innovative, complex new sounds to The Beatles\u2019 catalog. Even his very first offering, \u201cDon\u2019t Bother Me,\u201d was written in a minor key during an era where most Beatles songs were bright and replete with major chords. Here, the melody line of \u201cThink for Yourself\u201d is extremely complex. Indeed, Jerry Hammack, in his excellent work The Beatles Recording Reference Manual<\/em>, Vol. 2<\/strong>, states, \u201cMartin and the technical team had the daunting task of recording the performances verse by verse, as the trio found it difficult to master the B-flat to C to G7 harmony progressions. Once this painstaking work was finished, recording on the song was completed.\u201d (p. 91)<\/li>\n<\/ol>\n

         <\/p>\n

          \n
        1. A Double Shot<\/strong> –<\/strong> Following the trend set on the Help!<\/em> LP, George Harrison is permitted to write\/sing two songs, one on each side of this record (the second track being \u201cIf I Needed Someone\u201d). The next \u201cpromotion\u201d will occur on Revolver<\/em>, when George will serve up the LP-opener, \u201cTaxman,\u201d and will be allotted three tracks!<\/li>\n<\/ol>\n

           <\/p>\n

          It\u2019s an honor to welcome Janet Davis<\/strong> this month to give us a fresh, new look at this George Harrison track. Attending her first \u201cBeatlefest\u201d in 1979, Janet has been an integral part of various expert panels at The Fest for Beatles Fans<\/strong>, including the Historians Panel. She is on the editorial staff for one of only two extant Beatles fanzines in the U.S. today, <\/em>Octopus\u2019 Garden. And recently, Janet served as editor for the upcoming book about North American Beatles Fan Clubs by author Sara Schmidt, <\/em>Dear Beatle People.<\/em><\/p>\n

           <\/p>\n

          Jude Southerland Kessler:<\/em><\/strong> Janet, across the board, Beatles music critics point out that the lyrics of \u201cThink for Yourself\u201d are rather pedantic. To what are they referring? And is George’s tendency here, to teach or preach, a \u201cclue to the new direction\u201d? How does \u201cThink for Yourself\u201d prefigure later Harrison songs?<\/strong><\/p>\n

           <\/p>\n

          Janet Davis:<\/em><\/strong> As you noted above, Jude, George himself never fully explained what the song is about. He said in I Me Mine<\/em> (1980), \u201c\u2026I don\u2019t quite recall who inspired that tune. Probably the government.\u201d The lyrics can be read as dialogue with a former romantic partner, dislike of bureaucracy, self-motivation, or any combination of these themes. The overarching message is that each of us should listen carefully to our inner selves above all else.<\/p>\n

           <\/p>\n

          For the first time ever, George\u2019s words are strongly introspective as well as fairly ambiguous. That\u2019s a blueprint he revisited consistently throughout his career. Many of his lyrics can be read as either prayers or love songs, for example. George lets listeners choose the way they internalize his meanings. The seeds were planted with \u201cDon\u2019t Bother Me,\u201d and two years later, with \u201cThink for Yourself,\u201d George found the authentic songwriting voice he used for the rest of his life.<\/p>\n

           <\/p>\n

          Kessler:<\/em><\/strong> This was the first song in the Beatles catalog (and one of the first in rock\u2019n\u2019roll) in which a fuzz box was attached to the bass…and it was George\u2019s idea to do so! Where did George get this idea, and what does the fuzz box add to the song?<\/strong><\/p>\n

           <\/p>\n

          Davis:<\/em><\/strong> George explained in Anthology<\/em> that he first heard the fuzz box effect on \u201cZip-a-Dee-Doo-Dah\u201d by Bob B. Soxx & the Blue Jeans, back in 1962. Phil Spector was producing the song and accidentally created the distortion by overloading the guitar player\u2019s microphone.<\/p>\n

           <\/p>\n

          There are actually two bass lines in this song, with the second utilizing the fuzz box and played more like a lead guitar. Trying the effect with Paul\u2019s bass was simply the result of experimenting in the studio \u2013 they all liked the sound!<\/p>\n

           <\/p>\n

          As you mentioned above, there are conflicting accounts of which pedal was used. We may never solve this mystery, but the blurry, snarly fuzz box bass is a perfect complement to the song\u2019s edgy attitude.<\/p>\n

           <\/p>\n

          Kessler:<\/em><\/strong> \u201cThink for Yourself\u201d gets scanty praise. Tim Riley in\u00a0Tell Me Why<\/em>, for example, characterizes the song as \u201cflaccid.\u201d George had so little memory of the track that he couldn\u2019t recall why he wrote it or for whom! What do you find noteworthy or interesting about this track?<\/strong><\/p>\n

           <\/p>\n

          Davis:<\/em><\/strong> I think this song is mistakenly underrated, Jude. It\u2019s actually a bold step forward for George as a songwriter.<\/p>\n

           <\/p>\n

          At the time he wrote this song, George was in the shadow of the two most celebrated songwriters of the era, newly influenced by Bob Dylan, and still processing his LSD experience with John earlier in 1965. Three years of Beatlemania had taken their toll. George was ready to think and write in a more sophisticated way, and able to keep up with John and Paul\u2019s innovative work on Rubber Soul<\/em>.<\/p>\n

           <\/p>\n

          Just a few months ago, the UK website Far Out Magazine referred to \u201cThink for Yourself\u201d as \u201cquite possibly the archetypal tune for the composer, not only delivering a thought-provoking piece of pop but adding a touch of sourness to [the] proceedings, too.\u201d On such a groundbreaking album for The Beatles, the track may get lost. But it\u2019s really the start of George\u2019s development as a mature, unique songwriter. For that alone, it deserves to be celebrated.<\/p>\n

           <\/p>\n

          Kessler:<\/em><\/strong> What are some things about \u201cThink for Yourself\u201d that we haven\u2019t yet discussed? What would you like to tell us about the song?<\/strong><\/p>\n

           <\/p>\n

          Davis:<\/em><\/strong> Even though it\u2019s a driving, energetic song, neither The Beatles nor George ever performed \u201cThink for Yourself\u201d in concert. George and Eric Clapton played it in rehearsals for their 1991 Japan tour, but that\u2019s as close as we get to a live performance. Also, \u201cThink for Yourself\u201d was recorded in just a single take with overdubs, which means it\u2019s a rare Beatles track without multiple versions or outtakes.<\/p>\n

           <\/p>\n

          In closing, I often think of this line in the song: \u201cThe future still looks good \/ and you\u2019ve got time to rectify all the things that you should.\u201d That was George at 22. Thirty-five or so years later as his life was drawing to a close, George asked poignantly in \u201cPisces Fish,\u201d \u201cHave we time to sort all these things out?\u201d In those bookend lyrics, one at the beginning of his adult life, the other at the end, George is saying that what\u2019s most important is within us. Take the time to find it. I think that was one of his most powerful messages.<\/p>\n

           <\/p>\n

          For more information on Octopus\u2019 Garden<\/strong>, head here<\/a>.<\/p>\n

           <\/p>\n

          For more information on the upcoming book by Sara Schmidt on the North American Beatles Fans Clubs, Dear Beatle People<\/em><\/strong>, head here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

          Side One, Track Four   Harrison\u2019s Mantra: \u201cThink for Yourself\u201d   by Jude Southerland Kessler and Janet Davis   Through 2021, the Fest for Beatles Fans blog has been exploring the nooks and crannies in The Beatles\u2019 remarkable 1965 LP, […]<\/p>\n","protected":false},"author":8,"featured_media":8426,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[28],"tags":[98,89,117,138],"class_list":["post-8424","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-the-beatles","tag-jude-southerland-kessler","tag-rubber-soul","tag-the-beatles","tag-think-for-yourself"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/8424","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcomments&post=8424"}],"version-history":[{"count":2,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/8424\/revisions"}],"predecessor-version":[{"id":8427,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/posts\/8424\/revisions\/8427"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=\/wp\/v2\/media\/8426"}],"wp:attachment":[{"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8424"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Fcategories&post=8424"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.thefest.com\/?rest_route=%2Fwp%2Fv2%2Ftags&post=8424"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}