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But when at the top of their game, the group was continuing to push forward. 'I Feel Fine' had feedback and brilliant guitar leads; 'Ticket to Ride' showed the band beginning to incorporate the ringing, metallic, circular guitar lines that would be appropriated by bands like the Byrds; 'Help!' was their first burst of confessional lyricism; 'Yesterday' employed a string quartet. John Lennon in particular was beginning to exhibit a Dylanesque influence in his songwriting on such folky, downbeat numbers as 'I'm a Loser' and 'You've Got to Hide Your Love Away.' And tracks like 'I Don't Want to Spoil the Party' and 'I've Just Seen a Face' had a strong country flavor.

“Although the Beatles' second film, Help!, was a much sillier and less sophisticated affair than their first feature, it too was a huge commercial success. By this time, though, the Beatles had nothing to prove in commercial terms; the remaining frontiers were artistic challenges that could only be met in the studio.” (Jansen, 2000)

They rose to the occasion at the end of 1965 with Rubber Soul, one of the classic folk-rock records. Lyrically, Lennon, McCartney, and even Harrison were evolving beyond boy-girl scenarios into complex, personal feelings. They were also pushing the limits of studio rock by devising new guitar and bass textures, experimenting with distortion and multi-tracking, and using unconventional instruments like the sitar.

As much of a progression as Rubber Soul was relative to their previous records, it was but a taster for the boundary-shattering outings of the next few years. The 'Paperback Writer'/'Rain' single found the group abandoning romantic themes entirely, boosting the bass to previously unknown levels, and fooling around with psychedelic imagery and backwards tapes on the B-side. Drugs were fueling their already fertile imaginations, but they felt creatively hindered by their touring obligations. Revolver, released in the summer of 1966, proved what the group could be capable of when allotted months of time in the studio.

Hazy hard guitars and thicker vocal arrangements formed the bed of these increasingly imagistic, ambitious lyrics; the group's eclecticism now encompassed everything from singalong novelties ('Yellow Submarine') and string quartet-backed character sketches ('Eleanor Rigby') to Indian-influenced swirls of echo and backwards tapes ('Tomorrow Never Knows'). Some would complain that the Beatles had abandoned the earthy rock of their roots for clever mannerism. But Revolver, like virtually all of the group's singles and albums from 'She Loves You' on, would be a worldwide chart-topper.

Influence

For the past couple of years, live performance had become a rote exercise for the group, tired of competing with thousands of screaming fans that drowned out most of their voices and instruments. A 1966 summer worldwide tour was particularly grueling: the group's entourage was physically attacked in the Philippines after a perceived snub of the country's queen, and a casual remark by John Lennon about the Beatles being bigger than Jesus Christ was picked up in the States, resulting in the burning of Beatle records in the Bible belt and demands for a repentant apology. The本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。