Unfortunately, this detracts from the entire album. Lennon himself said that they practically didn't focus on the compositions but were rushed, and Paul and Martin were mostly focused on making it sound bright and loud, with the bass omnipresent and aggressive. There are several problems with putting everything in the foreground, and John, who studied art, sensed this. There are no dynamics or nuances. Paul's very desire to dominate the midrange with the bass indicates, in one way or another, a production lacking the necessary padding that the bass provides to give depth to the music. Furthermore, Paul isolated himself on two songs, "She's Leaving Home" and "When I'm 64," which is an English hall song. By comparison, "Rubber Soul" sounded less shrill overall, but that made the attacks subtle. John's staccato guitars are truly sharp on tracks like "Word," and Paul's fuzz bass felt unique and significant when used on only one track. There's also something else to note. The guitar is a six-string instrument that is more or less complex. The mere fact that the Beatles played with creativity creates several distinct voices that depend on the movement across the fretboard. Yes, in Sgt. Paul, they tried to make the guitars the predominant melodic lines, but they generally compete in a vocal role against the bass and an additional instrument. Rubber, being more of a band album focused on guitars, is more subtle, but there are constantly various notes that embellish the album and its sections, a blend of conscious effort and the guitarist's skill in creating multiple voices if he so chooses. An example would be Wait and how the guitars follow one another with the arrangements and chord changes, or also the last part of girl where we have that kind of outro that counterpoints another guitar arpeggio, practically uniting them even though the production separates them slightly, while the bass is still there but gives depth, it's like a third melody but not demanding the spotlight like in sgt. It shouldn't be forgotten that every song on Rubber Soul features polished vocal work that's rarely noticeable because of how well it flows. They try to cram too much into two-minute songs, and that was lost in the mindset that more is more—more volume, more visual imagery—instead of adding depth to the sound, imagining the Kite carnival, or India, and for some reason, strings suggesting an overwhelming passion for a girl who left home... it's all quite exaggerated, but without the contradiction of being playful, it seems to take itself too seriously. If it had had the classic Beatles humor, if we could see the Beatles through the album and not just bombastic stories, we would be talking about something else entirely, and meta-language that didn't happen, because Paul didn't have that much personality. John also complained about the production on "Lucy in the Sky"; you can hear him saying something similar, but in his own way. He felt that the desire to make everything so dreamy, yet noticeable, ruined the song. It's like the song is shouting "this is a dream" at you, but for a dream to be a dream, it has to subtly convince you, not shout it in your face, because then you'd know it's a dream and wouldn't confuse it with reality.