Various Artists

This Bird Has Flown: A 40^th Anniversary Tribute to The Beatles’ Rubber Soul

by Joe Regina

            Tampering with perfection is always risky business. Although the Beatles started out as cover artists themselves, doing their best to imitate such greats as Buddy Holly, Elvis Presley, and Chuck Berry, they have now become one of the most emulated acts in rock ‘n’ roll history. When it comes to Rubber Soul, however, rehashing the album that most represents the Beatles’s transition from mop-topped goofballs to serious musicians proves to be a serious challenge, and leads to the question of why anyone would even want to bother with such an undertaking.

            Generally speaking, there are two basic paths that lead to success with this type of task. The first path involves copying the original version of a song note for note and beat for beat. Demonstrating the ability to copy the greats, while not mind-expanding, in many ways confirms musical virtuosity. The path less traveled – taking a classic and reinventing it in a new and interesting way – requires much more imagination, discretion, and taste. Keeping this in mind, it seems as if the masterminds behind This Bird Has Flown: A 40^th Anniversary Tribute to The Beatles’ Rubber Soul set out with the noble intention of breaking new ground. Unfortunately, aside from a few shining moments, the album ends up resembling a domesticated parakeet with clipped wings and a broken spirit, void of any desire at all to be set free.

            It would probably be easier to discuss the songs that would not cause John and George turn in their graves. In a rare bright spot, Ben Harper and The Innocent Criminals have taken the classic “Michelle” and reinvented it in a style that is all their own, combining a reggae beat with Ben’s classic slide guitar sound, and towards the end adding an accordion in the background. The result is both fresh and interesting, with nods to the spirit of the original. The eclectic and eccentric new kid on the block, Sufjan Stevens, has also taken a step in the right direction with his sweet sounding, spirited rendition of “What Goes On.” With the addition of new melodies and a polyrhythmic solo section, Stevens has really done a terrific job of simultaneously replicating and reinvigorating the Ringo Starr classic.

            As the bird flies farther down south, there are a couple of moments on this album that neither crash, burn, nor soar. The Donnas version of “Drive My Car” and Yonder Mountain String Band’s “Think for Yourself” sound closest to the original tracks, the later of which will leave the listener wondering if Yonder has perhaps sampled George Harrison’s original vocals.

            Unfortunately, the sound of the rest of the album borders on the unbearable. The Fiery Furnaces squawk out a spacey electronic version of “Norwegian Wood” that might find more suitable use as kindling on a cold winter’s night. Rhett Miller’s bouncy version of “Girl” completely lacks the passion of John Lennon’s original delivery, and achieves the paradox of being both overly simplistic and over-produced at the same time. If you’re having a hard time sleeping at night, Ben Lee’s adaptation of “In My Life” might be just what Dr. Robert ordered. Due to its obnoxiously ambient sound and blandly monophonic vocals, what was once celebrated as one of the most beautiful love songs ever written could now drive even the happiest of Beatles fanatics into a deep, long-lasting depression. At the close of the album, the Cowboy Junkies clean up pitifully with a rendition of “Run for Your Life” that will have the smart listener doing just that, if they know what’s good for them.

            Paying homage to one of the most influential, innovative, and seminal groups of the twentieth century, the concept behind This Bird has Flown is a good one. The end product, however, misses the point almost entirely. The influx of new technology and techniques in the recording industry since the original release in 1965 is not reason enough to attempt such a project. When Play-Doh was invented, nobody tried to use it to recreate Michelangelo’s David. To tamper with the Fab Four’s perfection on Rubber Soul in this way is unnecessary and inappropriate, especially if we commit this blasphemy just because we can.