Revolver (Beatles album)
Revolver is the seventh studio album by the English rock
band the Beatles. Released on 5 August 1966, it was the
Beatles nal recording project before their retirement as
live performers, and marked a progression on their 1965
release Rubber Soul in terms of the groups readiness to
experiment in the recording studio. The albums diverse
sounds include tape loops and backwards recordings on
the psychedelic "Tomorrow Never Knows", a classical
string octet on "Eleanor Rigby", and Indian-music back-
ing on "Love You To". The album was reduced to eleven
songs by Capitol Records in North America, where three
of its tracks instead appeared on the June 1966 release
Yesterday and Today. Revolver was the last Beatles al-
bum to be subjected to Capitols policy of altering the
bands intended running order and content.
The Beatles recorded the album following a three-month
break from professional commitments at the start of
1966, and during a period when London was feted as
the eras cultural capital. The songs reect the inuence
of psychedelic drugs such as LSD and the increasing so-
phistication of the Beatles lyrics to address themes in-
cluding death and transcendence from material concerns.
With no thoughts of reproducing their new material in
concert, the band made liberal use of studio techniques
such as varispeeding, reversed tapes, close audio miking
and automatic double tracking (ADT), in addition to em-
ploying musical instrumentation outside of their standard
live set-up. Some of the changes in studio practice intro-
duced by Revolver, particularly ADT, were soon adopted
throughout the recording industry. The sessions also pro-
duced a non-album single, "Paperback Writer" backed
with "Rain", for which the Beatles lmed their rst on-
location promotional lms.
In the UK, Revolver's fourteen tracks were released to
radio stations throughout July 1966, with the music sig-
nifying what author Ian MacDonald later described as a
second pop revolution one which while galvanising their
existing rivals and inspiring many new ones, left all of
them far behind.[1] The albums US release coincided
with the Beatles nal concert tour, which was marred by
the controversy surrounding John Lennon's remark that
the band had become "more popular than Jesus". The
record topped the UK Albums Chart for seven weeks
and Americas Billboard Top LPs list for six weeks. To-
gether with the childrens novelty song "Yellow Subma-
Writing in The Beatles Forever, Nicholas Schaner cites
rine", Eleanor Rigby became an international hit when
issued as a double A-side single. 1966 as the start of the bands "'psychedelic' period and
adds: That adjective implies not only the inuence of
Revolver's cover artwork, designed by Klaus Voormann, certain mind-altering chemicals, but also the freewheel-
won the 1967 Grammy Award for Best Album Cover, ing spectrum of wide-ranging colors that their new mu-
1
Graphic Arts. The album was inuential in advancing
principles espoused by the 1960s counterculture and in
inspiring the development of pop music into subgenres
such as psychedelic rock, electronica, progressive rock
and world music. With the restoration of the three omit-
ted tracks for its international CD release in 1987, many
music critics recognise Revolver as the Beatles best al-
bum, surpassing Sgt. Peppers Lonely Hearts Club Band.
The album was ranked rst in Colin Larkin's book All-
Time Top 1000 Albums and third in Rolling Stone maga-
zines list of the 500 greatest albums of all time. In 2013,
after the British Phonographic Industry had changed its
sales award rules, Revolver was certied platinum in the
UK. The album has been certied 5 platinum by the
Recording Industry Association of America.
1 Background
In December 1965, the Beatles' Rubber Soul album was
released to wide critical acclaim.[2] According to author
David Howard, the limits of pop music had been raised
into the stratosphere by the release, resulting in a shift in
focus away from singles to creating albums of consistently
high quality.[3] The following January, the Beatles carried
out overdubs on live recordings taken from their 1965
US tour,[4] for inclusion in the concert lm The Beatles
at Shea Stadium.[5] The groups manager, Brian Epstein,
had intended that 1966 would then follow the pattern of
the previous two years,[6] in terms of the band making a
feature lm and an accompanying album,[7][8] followed
by concert tours during the summer months.[9] After the
Beatles vetoed the proposed lm project, however, the
time allocated for lming became a three-month period
free of professional engagements.[6][10] The extended lay-
o allowed the band members to experience life outside
the group collective for the rst time since 1962,[11][12] as
well as giving them an unprecedented amount of time to
prepare for a new album.[10]
Literally anything [could come out of the next recording
sessions]. Electronic music, jokes ... one things for sure
the next LP is going to be very dierent.[13]
John Lennon, March 1966
2 2 RECORDING HISTORY

sic seemed to evoke.[14] Music journalist Carol Clerk sent Epstein to Memphis in March 1966 to investigate
describes Revolver as having been decisively informed the possibility of their recording at Stax Studio.[32] Ac-
by acid, following John Lennon and George Harrison's cording to a letter written by Harrison two months later,
continued experimentation with the drug LSD since the the group intended to work with Staxs in-house producer,
spring of 1965.[15][nb 1] Through these shared experi- Jim Stewart.[33][34] The idea was abandoned after locals
ences, the two musicians developed a fascination for East- began descending on the Stax building, as were alterna-
ern philosophical concepts,[15][17] particularly regarding tive plans to use either Atlantic Studios in New York or
the illusory nature of human existence.[18][19] Despite his Motown's facility in Detroit.[32][nb 2]
bandmates urging, after Ringo Starr had also partaken
Recording for the album instead began at EMI Studio 3
of the drug, Paul McCartney refused to try LSD.[20][21] in London on 6 April 1966, with George Martin again
As reected in the more conventional subject matter of
serving as producer.[37] The rst track attempted was
his lyrics on Revolver, relative to those of Lennon and Lennons "Tomorrow Never Knows",[38] the arrangement
Harrison,[22] McCartney drew his inspiration from the
for which changed considerably between the initial take
intellectual stimulation he experienced among Londons that day and the subsequent remake.[39] This rst version
thriving artistic community.[23][24]
of Tomorrow Never Knows, along with several other
While arranging dates for the bands world tour,[25] Ep- outtakes from the album sessions,[40] was included on
stein agreed to a proposal by journalist Maureen Cleave the 1996 compilation Anthology 2.[41] Also recorded dur-
for the Beatles to be interviewed separately for a series ing the Revolver sessions were "Paperback Writer" and
of articles that would run in Londons Evening Standard "Rain", which were issued as the A- and B-side of a non-
newspaper in March 1966.[26] Cleaves observations re- album single in late May.[42]
ected the band members more sophisticated personali-
ties beyond the simplistic portrayals that were common-
place at the time.[27] Of the two principal songwriters, she
found Lennon to be intuitive, lazy and dissatised with
fame and material wealth, while McCartney conveyed
condence and a hunger for knowledge and new creative
possibilities.[28] In his book Revolver: How the Beatles
Reimagined Rock 'n' Roll, Robert Rodriguez writes that,
whereas Lennon had been the Beatles dominant creative
force before Revolver, McCartney now attained an ap-
proximately equal position with him.[29] In a further de-
velopment, Harrisons interest in the music and culture of
India, and his study of the Indian sitar, had inspired him as
a composer.[30] According to author Ian Inglis, Revolver
Swinging London, Carnaby Street, circa 1966. The albums cre-
is widely viewed as the album on which Harrison came
ation coincided with international recognition of Londons role as
of age as a songwriter.[31] a cultural capital. According to Philip Norman, Revolver cap-
tured the condence of summer 1966: It was hot pavements,
open windows, Kings Road bistros and England soccer stripes.
2 Recording history It was the British accent, once again all-conquering.[43]

The band had worked on ten songs, including both sides

of the upcoming single, by 1 May, when they interrupted
the sessions to perform at the NME's annual Poll-Winners
Concert.[44][nb 3] At a time when Time magazine dubbed
London the Swinging City", belatedly recognising its
ascendance as the eras cultural capital,[46][47] the Bea-
tles drew inspiration from attending concerts by visit-
ing artists, as well as lm premieres, plays and other
cultural events.[48] From February through June, these
musical acts included Stevie Wonder, Roy Orbison, the
Lovin' Spoonful,[49] the Mamas & the Papas, Bob Dylan
(with whom they socialised extensively), Luciano Berio
and Ravi Shankar.[50][nb 4] In addition, during mid May,
Harrison, McCartney and Lennon with George Martin at EMI
Lennon and McCartney attended a private listening party
Studios in the mid 1960s for the Beach Boys' Pet Sounds album,[54] and McCartney
met Italian director Michelangelo Antonioni, who lmed
The Beatles had hoped to work in a more modern facil- Blowup in London, inspired by the contemporary fashion
ity than EMI's London studios at Abbey Road, and so scene.[55]
3.1 Studio aesthetic
On 16 May,[56] Epstein responded to a request from
Capitol Records, EMIs North American counterpart, to
supply three new songs for an upcoming US release, titled
Yesterday and Today.[57] Issued on 20 June, this album
combined tracks that Capitol had omitted from the Bea-
tles previous US releases with songs that the band had
originally issued on non-album singles.[56] From the six
completed recordings for Revolver, Martin selected three
Lennon-written songs, since the sessions had favoured his
compositions thus far.[57] Keen to limit the interruption
to recording that multiple television appearances would
create,[58][59] the Beatles spent two days making promo-
tional lms for the Paperback Writer single.[52][60] The
rst set of clips was lmed at EMI Studio 1 on 19 May[61]
by Michael Lindsay-Hogg, director of the popular TV
show Ready Steady Go![62] The following day, the group
shot further clips for the two songs in the grounds of
Chiswick House, in west London.[52]
The camaraderie among the four Beatles was at its highest
throughout this period.[63][64] A disagreement between
McCartney and his bandmates nevertheless resulted in
McCartney walking out of the studio during the nal ses-
sion, for Lennons "She Said She Said", on 21 June, two
days before the band were due to y to West Germany for
the rst leg of their world tour.[65][66] The Beatles spent
over 220 hours recording Revolver a gure that excludes
mixing sessions, and compares with less than 80 hours for
Rubber Soul.[67] Final mixing of the album took place on
22 June.[68] The Beatles celebrated the projects comple-
tion by attending the opening of Sibyllas,[69] a nightclub EMIs Abbey Road Studios (pictured in 2005). Most of the ses-
in which Harrison had a nancial stake.[70]
3 Production techniques
3.1 Studio aesthetic
Revolver very rapidly became the album where the Beat-
les would say, OK, that sounds great, now lets play [the
recording] backwards or speeded up or slowed down.
They tried everything backwards, just to see what things
sounded like.[38][71]
EMI recording engineer Geo Emerick
The sessions for Revolver continued the spirit of studio
experimentation evident on Rubber Soul.[72][73] With the
Beatles increasingly involved in the production of their
music, Martins role as producer had changed to one of
a facilitator and collaborator, whereby the band now re-
lied on him to make their ideas a reality.[74][64][nb 5] Ac-
cording to Rodriguez, Revolver marked the rst time that
the Beatles integrated studio technology into the concep-
tion of the recordings they made.[76] He views this ap-
proach as reective of the groups waning interest in live
performance before crowds of screaming fans, in favor
of creating soundscapes without limitation in a studio
environment.[77] For the rst time at EMI Studios, the
3
companys four-track tape machines were placed in the
studios control room, alongside the producer and balance
engineer, rather than in a dedicated machine room.[78]
The Beatles new recording engineer on the project was
nineteen-year-old Geo Emerick,[79] described by author
and critic Ian MacDonald as an English audio experi-
mentalist in the tradition of producer Joe Meek.[80][nb 6]
Emerick recalls that no preproduction or rehearsal pro-
cess took place for Revolver; instead, the band used the
studio to create each song from what was often just an
outline of a composition.[83] Speaking shortly before the
start of the sessions, Lennon said that they had considered
making the album a continuous ow of tracks, without
gaps to dierentiate between each song.[13][nb 7]
sions for Revolver took place in the complexs intimate Studio 3.
The groups willingness to experiment was also evident
in their dedication to nding or inventing sounds that
captured the heightened senses inspired by their hallu-
cinogenic experiences.[86][87] In this endeavour, the al-
bum made liberal use of compression and tonal equali-
sation.[88] Emerick says that the Beatles encouraged the
studio sta to break from standard recording practices,
adding: It was implanted when we started Revolver
that every instrument should sound unlike itself: a piano
shouldn't sound like a piano, a guitar shouldn't sound like
a guitar.[89]
In their search for new sounds, the band incorporated mu-
sical instruments such as the Indian tambura and tabla,
and clavichord, vibraphone and tack piano into their work
for the rst time.[90] The guitar sound on the album
was also more robust than before, through the use of
new Fender ampliers; the choice of guitars, which in-
cluded Harrison using a Gibson SG as his preferred in-
strument; and the introduction of Fairchild 660 limiters
for recording.[91] With no expectations of being able to
re-create their new music within the connes of their live
shows,[92] the Beatles increasingly used outside contribu-
tors while making the album.[93] This included the bands
rst use of a horn section,[64] on "Got to Get You into
My Life",[93] and the rst time they incorporated sound
eects extensively,[94] during a party-style overdubbing
4 4 SONGS

session for "Yellow Submarine".[95]

3.2 Innovations

There are sounds [on Revolver] that nobody else has done
yet I mean nobody ... ever.[96]
Paul McCartney, 1966
A key production technique that the band began using
was automatic double tracking (ADT), which EMI tech- A Fairchild 670 stereo compressor. Fairchilds mono equivalent,
nical engineer Ken Townsend invented on 6 April. This the 660, was used extensively during the Revolver sessions and
technique employed two linked tape recorders to auto- contributed to the increased presence of lower-register sounds
matically create a doubled vocal track.[97] The standard such as bass guitar and the drum kits kick drum.
method had been to double the vocal by singing the same
piece twice onto a multitrack tape, a task Lennon par-
Importantly for the groups sound, Emerick and
ticularly disliked. The Beatles were delighted with the
Townsend recorded McCartneys bass guitar amplier
invention, and used it extensively on Revolver.[98] ADT
via a loudspeaker, instead of a standard microphone,
soon became a standard pop production technique, and
so ensuring that the bass was more prominent than on
led to related developments such as the articial chorus
any previous Beatles release.[115] Although the recording
eect.[99]
sta employed this technique only on the two songs
The Beatles most experimental work during the Re- selected for the May 1966 single,[116] the enhanced bass
volver sessions was channelled into the rst song they sound was a feature of much of the album.[117] Emerick
attempted, Tomorrow Never Knows.[88] Lennon sang also ensured a greater presence for Starrs bass drum,
his vocal for the song through the twin revolving speak- by inserting an item of clothing inside the structure, to
ers inside a Leslie cabinet, which was designed for use dampen the sound,[79] and then moving the microphone
with a Hammond organ.[41][100] The eect was employed to just 3 inches from the drumhead and compressing the
throughout the initial take of the song but only during signal through a Fairchild limiter.[118] MacDonald writes
the second half of the remake.[41][100] According to au- that, despite EMI Studios being technically inferior to
thor Andy Babiuk, Tomorrow Never Knows marked many recording facilities in the United States, Starrs
the rst time that a vocal was recorded with a micro- drumming on the album soon led to studios there being
phone plugged into a Leslie speaker.[101] Much of the torn apart and put back together again, as engineers
backing track for the song consists of a series of preparedsought to replicate the innovative sounds achieved
tape loops,[97] an idea that originated from McCartney, by the Beatles.[119] The preference for close-miking
who, inuenced by the work of avant-garde artists such instruments extended to the orchestral strings used on
as Karlheinz Stockhausen, regularly experimented with "Eleanor Rigby", to achieve McCartneys request for a
magnetic tape and musique concrte techniques.[102][103] really biting sound,[120] and the horns on Got to Get
The Beatles each prepared loops at home,[104] and a selec- You into My Life.[121] This was another break from
tion of these sounds were then added to the musical back- convention, and the cause for alarm among the classically
ing of Tomorrow Never Knows.[105][nb 8] The process trained string players.[122][123]
was carried out live, with multiple tape recorders running
According to authors Kevin Ryan and Brian Kehew,
simultaneously, and some of the longer loops extending
[109] ADT, backwards recording, and close-miked drums were
out of the control room and down the corridor.
among the nine techniques that the Revolver sessions in-
The inclusion of reversed tape sounds on Rain (specif- troduced into the recording world for the rst time.[124]
ically, a portion of Lennons vocal part) marked the rst Ryan and Kehew quote Emerick as saying: I know for a
pop release to use this technique, although the Beatles had fact that, from the day it came out, Revolver changed the
rst used it, in some of the tape loops and the overdubbed way that everyone else made records.[124][nb 9]
guitar solo, on Tomorrow Never Knows.[110] The back-
wards (or backmasked) guitar solo on "I'm Only Sleep-
ing" was similarly unprecedented in pop music,[21][111]
in that Harrison deliberately composed and recorded his
4 Songs
guitar parts with a view to how the notes would sound
when the tape direction was corrected.[112] The bands in- 4.1 Overview
terest in the tones that resulted from varying tape speed
(or varispeeding) extended to recording a basic track at Author Steve Turner writes that Revolver encapsulates not
a faster tempo than they intended the song to sound on only the spirit of the times but the network of pro-
disc.[113][114] gressive social and cultural thinkers in which the Bea-
4.2 Side one
tles had recently become immersed in London.[126] He
says that the album challenged all the conventions of
pop through its mix of novel sounds and the unusual
subject matter of the songs.[127] The album is an early
work in the psychedelic rock genre, which accompa-
nied the emergence of counterculture ideology in the
1960s.[128] Through its individual tracks, Revolver cov-
ers a wide range of styles, including acid rock, chamber
music, R&B,[129] raga rock,[130] musique concrte,[131] as
well as standard contemporary rock and pop.[132] In Ro-
driguezs view, the inuence of Indian music permeates
the album.[133] Aside from the sounds and vocal styling
used on much of the recording, this inuence is evident
in the limited chord changes in many of the songs, sug-
gesting an Indian-style drone.[134]
In its lyrical themes, the album marks a radical depar-
ture from the Beatles past work, as a large majority of
the songs avoid the subject of love.[135] Author and critic
Kenneth Womack writes of the Beatles exploring phe-
nomenologies of consciousness on Revolver, and he cites
as examples I'm Only Sleeping"'s preoccupation with
dreams, and the references to death in the lyrics to To-
morrow Never Knows. In Womacks estimation, the
songs represent two important elements of the human life
cycle that are philosophical opposites.[136] Echoing this
point, music critic Tim Riley writes that, just as em-
bracing life means accepting death, the fourteen tracks
link a disillusioned view of the modern world ('Taxman')
with a belief in metaphysical transcendence ('Tomorrow
Never Knows)".[137] In the view of musicologist Russell
Reising, all the songs on Revolver are linked in that each
line in Tomorrow Never Knows, the closing track, is
alluded to or explored in the lyrics to one or more of the
tracks that precede it.[138]
4.2 Side one
4.2.1 Taxman
Harrison wrote "Taxman" as a protest against the high
marginal tax rates paid by top earners like the Beatles,
which, under Harold Wilson's Labour government,[140]
amounted to 95 per cent of their income.[141][nb 10] The
tracks spoken count-in is out of tempo with the perfor-
mance that follows,[144] a contrivance that Riley cred-
its with establishing the new studio aesthetic of Re-
volver".[145] Harrisons vocals on the track were treated
with heavy compression and ADT.[141] In addition to
playing a glissandi-inected bass part reminiscent of Mo-
towns James Jamerson, McCartney performed the songs
Indian-style guitar solo.[146] The latter section was also
edited onto the end of the original recording, ensur-
ing that the track closed with the solo reprised over a
fadeout.[141][147] Rodriguez recognises Taxman as the
rst Beatles song written about topical concerns"; he
also cites its abrasive sneer as a precursor to the 1970s
punk rock movement.[148] Completed with input from
5
Lennon,[149] the lyrics refer by name to Wilson, who had
just been re-elected as prime minister in the 1966 general
election, and Edward Heath, the Conservative Leader of
the Opposition.[150]
4.2.2 Eleanor Rigby
Womack describes McCartneys "Eleanor Rigby" as a
narrative about the perils of loneliness.[151] The story
involves the title character, who is an ageing spinster,
and a lonely priest named Father McKenzie who writes
sermon[s] that no one will hear.[151] He presides over
Rigbys funeral and acknowledges that despite his eorts,
no one was saved.[152] The rst McCartney composition
to depart from the themes of a standard love song,[153]
its lyrics were the product of a group eort, with Har-
rison, Starr and Lennon all contributing.[154][nb 11] While
Lennon and Harrison supplied harmonies beside McCart-
neys lead vocal, no Beatle played on the recording;[156]
instead, Martin arranged the track for a string octet,[157]
drawing inspiration from Bernard Herrmann's 1960 lm
score for Alfred Hitchcock's Psycho.[158] In Rileys opin-
ion, the corruption of 'Taxman' and the utter nality of
Eleanors fate makes the world of Revolver more ominous
than any other pair of opening songs could.[159]
4.2.3 I'm Only Sleeping
"I'm Only Sleeping" was the rst of the three tracks
cut from the US version of Revolver.[127] Author Peter
Doggett describes the song as Half acid dream, half la-
tent Lennon laziness personied.[161] As with Rain,
the basic track was recorded at a faster tempo before
being subjected to varispeeding.[162][163] The latter treat-
ment, along with ADT, was also applied to Lennons vo-
cal as he sought to replicate, in MacDonalds descrip-
tion, a papery old mans voice.[160] For the guitar solo,
Harrison recorded two separate lines: the rst with a
clean sound, while on the second, he played his Gibson
SG through a fuzzbox.[112] Beatles biographer Jonathan
Gould views the solo as appearing to suspend the laws
of time and motion to simulate the half-coherence of the
state between wakefulness and sleep.[164] Musicologist
Walter Everett likens the song to a particularly expres-
sive text painting.[165]
4.2.4 Love You To
"Love You To" marked Harrisons rst foray into
Hindustani classical music as a composer, following
his introduction of the sitar on "Norwegian Wood" in
1965.[166] Made with minimal contributions from Starr
and McCartney, Harrison recorded Love You To with
Indian musicians from the north London-based Asian
Music Circle, who provided instrumentation such as
tabla, tambura and sitar.[167] Author Peter Lavezzoli
6 4 SONGS

recognises the song as the rst conscious attempt in
pop to emulate a non-Western form of music in struc-
ture and instrumentation.[168] Aside from playing sitar on
the track,[169] Harrisons contributions included fuzztone-
eected electric guitar.[167] Everett identies the songs
change of metre as unprecedented in the Beatles work
and a characteristic that would go on to feature promi-
nently on the bands subsequent album, Sgt. Peppers
Lonely Hearts Club Band.[170] Partly inuenced by Har-
risons experimentation with LSD,[171][172] the lyrics ad-
dress the singers desire for immediate sexual grati-
cation, Womack writes, and serve as a rallying call
to accept our inner hedonism and release our worldly
inhibitions.[173]
ll the portion after the lyrics refer to a brass band play-
ing, Martin and Emerick used a Sousa march recording,
sourced from EMIs library, splicing up the taped copy
and rearranging the melody.[186] Lennon recorded the
tracks superimposed voices in an echo chamber,[187] sup-
porting Starrs lead vocal in a manner that Gould likens
to an old vaudevillian with the crowd in the palm of his
hand.[188] Riley recognises the songs mix of comedy as
reminiscent of The Goon Show with satire inspired by
Spike Jones.[189] Donovan later said that Yellow Subma-
rine represented the Beatles predicament as prisoners of
their international fame, to which they reacted by singing
an uplifting, communal song.[190]

4.2.5 Here, There and Everywhere 4.2.7 She Said She Said

"Here, There and Everywhere" is a ballad that McCart-
ney wrote towards the end of the Revolver sessions.[174]
His inspiration for the song was the Beach Boys Pet
Sounds track "God Only Knows",[173] which, in turn,
Brian Wilson had been inspired to write after listening to
Rubber Soul.[175] McCartneys double-tracked vocal[176]
was treated with varispeeding, resulting in a higher pitch
at playback.[173] The songs opening lines are sung over
shifts in time signature from 9/8 to 7/8 to 4/4;[173] accord-
ing to Everett, nowhere else does a Beatles introduction
so well prepare a listener for the most striking and ex-
pressive tonal events that lie ahead.[177] Womack char-
acterises the song as a romantic ballad about living in
the here and now and fully experiencing the conscious
moment.[173] He notes that, with the preceding track,
Love You To, the album expresses corresponding ex-
aminations of the human experience of physical and ro-
mantic love.[173][nb 12]
The light atmosphere of Yellow Submarine is broken by
what Riley terms the outwardly harnessed, but inwardly
raging guitar that introduces Lennons "She Said She
Said".[189] The song marks the second time that a Bea-
tles arrangement used a shifting metre, after Love You
To, as the foundation of 4/4 briey switches to 3/4.[191]
Harrison recalled that he helped Lennon nish the com-
position, which involved joining together three separate
fragments of song.[192] Having walked out of the session,
McCartney did not contribute to the recording, leaving
Harrison to perform the bass part in addition to lead gui-
tar and harmony vocals.[193] The lyric was inspired in part
by a conversation that Lennon and Harrison had with ac-
tor Peter Fonda in Los Angeles in August 1965,[194] while
all three, along with Starr and members of the Byrds,
were under the inuence of LSD.[195] During the conver-
sation, Fonda commented: I know what its like to be
dead, because as a child he had technically died during
an operation.[196][nb 14]

4.2.6 Yellow Submarine

The songs got more interesting, so with that the eects

4.3 Side two
got more interesting. I think the drugs were kicking in
a little more heavily on this album [Al]though we did 4.3.1 Good Day Sunshine
take certain substances, we never did it to a great extent
at the session. We were really hard workers.[178] "Good Day Sunshine" was written by McCartney, whose
piano playing dominates the recording.[198] The track was
Ringo Starr, 2000 one of several contemporary songs that evoked the un-
McCartney wrote "Yellow Submarine" a song he later usually hot and sunny English summer of 1966.[199] Mu-
characterised as a kids story as a vehicle for Starrs sic critic Richie Unterberger describes it as a song that
limited vocal range.[179] The lyrics were written by Mc- conveys one of the rst ne days of spring, just af-
Cartney and Lennon, with assistance from Scottish singer ter you've fallen in love or started a vacation.[200] The
Donovan,[180][181] and tell of life on a sea voyage accom- verses reect aspects of vaudeville, while McCartney also
panied by friends.[182] Gould considers the songs child- acknowledged the inuence of the Lovin' Spoonful on
like qualities to be deceptive and that, once in the stu- the composition.[200] Overdubbed by Martin,[201] the pi-
dio, it became a sophisticated sonic pastiche.[183] On 1 ano solo on the track recalls the ragtime style of Scott
June,[184] the Beatles and a group of their friends created a Joplin.[202] The song ends with group harmonies repeat-
nautical atmosphere over the pre-recorded basic track, by ing the title phrase,[203] creating an eect that Riley likens
mixing sounds such as gongs, whistles and bells with an to a cascade of voices enter[ing] from dierent direc-
assortment of Studio 2s sound eect units.[179][nb 13] To tions, like sun peeping through the trees.[202]
4.3 Side two 7

4.3.2 And Your Bird Can Sing 4.3.5 I Want to Tell You

Another song rst issued on Capitols Yesterday and To-
day,[127] "And Your Bird Can Sing" was written pri-
marily by Lennon, with McCartney claiming to have
helped on the lyric and estimating the song as 8020 to
Lennon.[204] Harrison and McCartney played dual lead-
guitar parts on the recording,[205] including an ascending
ri that Riley terms magnetic ... everything sticks to
it.[206][nb 15] Riley describes the composition as a shaded
putdown in the style of Dylans "Positively 4th Street",
whereby Lennon sings to someone who has seen seven
wonders yet is unable to empathise with him and his feel-
ings of isolation.[209] According to Gould, the song was
directed at Frank Sinatra after Lennon had read a ha-
giographic article on the singer, in Esquire magazine, in
which Sinatra was lauded as the fully emancipated male
... the man who can have anything he wants.[210]
Harrison said he wrote "I Want to Tell You" about the
avalanche of thoughts that he found hard to express in
words.[224] Supporting the lyrics, his stammering guitar
ri, combined with the dissonance employed in the songs
melody, conveys the diculties of achieving meaning-
ful communication.[225][226][nb 17] The prominent backing
vocals include Indian-style gamak ornamentation in Mc-
Cartneys high harmony,[228] similar to the melisma ef-
fect used in Love You To.[229] Reising and author Jim
LeBlanc cite the song as an early example of how from
1966 onwards the Beatles lyrics adopted an urgent tone,
intent on channeling some essential knowledge, the psy-
chological and/or philosophical epiphanies of LSD expe-
rience to their increasingly aware audience.[230]
4.3.6 Got to Get You into My Life

Described by Riley as the albums most derivative

4.3.3 For No One
"For No One" was inspired by McCartneys relation-
ship with English actress Jane Asher.[211][212] Along with
Good Day Sunshine, which similarly dispensed with
guitar parts for Harrison and Lennon, Rodriguez cites the
track as an example of McCartney eschewing the group
dynamic when recording his songs, a trend that would
prove unpopular with his bandmates in later years.[213]
The recording features McCartney playing piano, bass
and clavichord,[214] accompanied by Starr on drums and
percussion.[215] The French horn solo was added by Alan
Civil, who recalled having to busk his part, with lit-
tle guidance from McCartney or Martin at the overdub-
bing session.[205] While recognising McCartneys cus-
tomary logic in the songs musical structure, MacDon-
ald comments on the sense of detachment conveyed in
the lyrics to this curiously phlegmatic account of the end
of an aair. MacDonald suggests that McCartney was
attempting to employ the same dry cinematic eye that
director John Schlesinger had adopted in his 1965 lm
Darling.[215]
cut,[231] "Got to Get You into My Life" was inuenced
by the Motown Sound[232][233] and written by McCartney
after he had seen Stevie Wonder perform at the Scotch
of St James nightclub in February.[234] The horn players
on the track included members of Georgie Fame's group,
the Blue Flames.[105][233] To capture the desired sound,
microphones were placed in the bells of the brass instru-
ments, according to Emerick, and the signals were heavily
limited.[105] A month later, a tape copy of these horn parts
was superimposed with a slight delay, thereby doubling
the presence of the brass contributions.[68] Rodriguez
terms the completed track an R&B-styled shouter.[235]
Although cast in the form of a love song, McCartney de-
scribed the lyric as an ode to pot, like someone else
might write an ode to chocolate or a good claret.[236]
The initial version of the song featured acoustic back-
ing and organ, and a harmonised refrain of I need your
love,[105] which was replaced by Harrisons guitar break
on the more uptempo remake.[237]
4.3.7 Tomorrow Never Knows

This is easily the most amazing new thing we've ever

come up with. Some people might say it sounds like a ter-
4.3.4 Doctor Robert rible mess of a sound But the song ought to be looked
on as interesting if people listen to it with open ears. Its
The third track omitted from the US Revolver LP, like the Indian stu. You mustn't listen to eastern music
"Doctor Robert" was written by Lennon,[216] although with a Western ear.[238]
McCartney has since claimed co-authorship.[217] A
guitar-based rock song in the style of And Your Bird George Harrison, October 1966
Can Sing,[218] its lyrics celebrate a New York physi- Rodriguez describes Lennons "Tomorrow Never Knows"
cian known for dispensing amphetamine injections to as the greatest leap into the future of the Beatles
his patients.[216][219][nb 16] On the recording, the hard- recording career up to this point.[6] The recording in-
driving performance is interrupted by two bridge sections cludes reverse guitar, processed vocals, and looped tape
where, over harmonium and chiming guitar chords,[221] eects, accompanying a strongly syncopated, repetitive
the group vocals suggest a choir praising the doctor for drum-beat. Lennon adapted the lyrics from Timothy
his services.[222][223] Leary's book The Psychedelic Experience: A Manual
8 5 PACKAGING

Based on The Tibetan Book of the Dead, which equates

the realisations brought about through LSD with the spir-
itually enlightened state achieved through meditation.[239]
Originally recorded as Mark I, the eventual title came
via a Ringo Starr malapropism.[240]
Lennon intended the track as an evocation of a Tibetan
Buddhist ceremony.[242] The songs harmonic structure
is derived from Indian music and is based on a high-
volume C drone played by Harrison on a tambura.[168]
Over the foundation of tambura, bass and drums, the ve
tape loops comprise various manipulated sounds:[243] two
separate sitar passages, played backwards and sped up;
an orchestra sounding a B chord; McCartneys laugh-
ter, sped up to resemble a seagulls cry; and a Mellotron
played on either its ute, string or brass setting.[108][nb 18]
The Leslie speaker treatment applied to Lennons vo-
cal originated from his request that Martin make him
sound like he was the Dalai Lama singing from the top
of a high mountain.[109] Reising describes Tomorrow
Never Knows as the inspiration for an album that illu-
minates a path dedicated to personal freedom and mind
expansion.[246] He views the songs message as a precur-
sor to the more explicitly political statements the Beatles
would make over the next two years, in "All You Need Is
Love" and "Revolution".[247]

For the cover of Revolver, Klaus Voormann drew inspiration

from the work of Aubrey Beardsley,[248] whose designs in The
5 Packaging Yellow Book became highly inuential during the psychedelic
era.[249]

5.1 Artwork

The cover for Revolver was created by German-born

bassist and artist Klaus Voormann,[250] one of the Bea-
tles oldest friends from their time in Hamburg during
the early 1960s.[251] Voormanns artwork was part line
drawing and part collage,[252] using photographs taken
over 196465 by Robert Freeman and others by Robert
Whitaker.[251][nb 19] In his line drawings of the four Bea-
tles, Voormann drew inspiration from the work of the
nineteenth-century illustrator Aubrey Beardsley,[248] who
Colour outtake from Robert Whitaker's photo session that pro-
was the subject of a long-running exhibition at Londons
duced the back-cover image used on the LP. George Harrison
Victoria and Albert Museum in 1966 and highly inuen- (third from left) is seen holding a transparency of the controver-
tial on fashion and design themes of the time.[254] Voor- sial butcher cover for Yesterday and Today.
mann placed the various photos within the tangle of hair
that connects the four faces.[248] Turner writes that the
drawings show each Beatle in another state of conscious- The LPs back cover included a photograph of the Bea-
ness, such that the older images appear to be tumbling tles, in Rileys description, shaded by the hip modesty
out from them.[255] of sunglasses and cigarette smoke.[260] The photo was
When Voormann submitted his work to the Beatles, Ep- part of a series taken by Whitaker during the lming
stein wept, overjoyed that Voormann had managed to cre- at Abbey Road on 19 May and demonstrated the Beat-
ate a cover that matched the experimental tone of the Bea- les adoption of fashions from boutiques that had recently
tles new music.[256][257] Voormann also designed a series opened in Chelsea, rather than the Carnaby Street design-
of four images, titled Wood Face, Wool Face, Tri- ers they had favoured previously.[261] From these Chelsea
angle Face and Sun Face, which appeared on the front boutiques, Lennon wore a long-collared paisley[262] shirt
of the Northern Songs sheet music for each of the albums from Granny Takes a Trip, while Harrison was dressed
songs.[258][259] in a wide-lapelled velvet jacket designed by Hung on

You.[263] Turner views the selection of attire as reec-
tive of the Beatles still dressing similarly yet with an
individual stamp"; he identies the choice of sunglasses
as another example of a unied yet personalised look,
whereby the styles ranged from oblong-shaped lenses,
for Lennon, to an oval-shaped pair worn by Starr.[264]
Gould, who describes Starrs glasses as ludicrously bug-
eyed, considers the cover design to be consistent with the
break with the past ethos that had guided the albums
creation.[265] During the same photo shoot, Whitaker
took pictures of the Beatles examining orange transparen-
cies of his butcher cover design for Yesterday and To-
day[266] an image that, due to its depiction of dismem-
bered baby dolls and raw meat, proved instantly contro-
versial in America.[267][268]
5.2 Title
The albums title, like that of Rubber Soul, is a pun,[68]
referring to both a kind of handgun and the revolving
motion of the record as it is played on a turntable.[269]
Gould views the title as a "McLuhanesque pun, since,
more so than on their previous albums, the focus of Re-
volver appears to rotate from one Beatle to another with
each song.[248][nb 20]
The Beatles had diculty coming up with this title. The
group had originally wanted to call the album Abra-
cadabra, until they discovered that another band had al-
ready used it. After that, opinion was split: Lennon opted
for Four Sides of the Eternal Triangle and Starr jokingly
suggested After Geography, playing on the title of the
Rolling Stones' recently released Aftermath LP. Other
suggestions included Magic Circles, Beatles on Safari,
Pendulum and, nally, Revolver. The title was chosen
while the band were on tour in Germany in late June.[271]
They then conrmed the choice in a telegram to EMI,[68]
sent from the Tokyo Hilton on 2 July.[272]
6 Release
Revolver was released on 5 August 1966 in the United
Kingdom and on 8 August in the United States.[273][274]
The eleven-song North American LP release was the
bands tenth album on Capitol Records and twelfth US al-
bum in total.[275] Due to the exclusion of the three Lennon
tracks, there were only two songs on the Capitol release
for which he was the principal writer, compared with
three by Harrison and the rest by McCartney.[276] Yel-
low Submarine was issued as a double A-side single with
Eleanor Rigby.[215] As a novelty song and a ballad de-
void of any instrumentation played by a Beatle, respec-
tively, each of the two tracks marked a signicant depar-
ture from the usual content of the bands singles.[277][nb 21]
We'll lose some fans with [the new album], but we'll also January 1967, their contract stipulated that Capitol could
gain some. The fans we'll probably lose will be the ones
9
who like the things about us that we never liked anyway
[279]
Paul McCartney, June 1966
The albums release coincided with a period of public
relations challenges for the Beatles,[48][280] the combina-
tion of which led to their decision to retire from tour-
ing in 1966.[281][nb 22] In the United States, the release
was a secondary event to the controversy surrounding
the recent publication there of Cleaves interview with
Lennon, in which he had remarked that the Beatles had
become "more popular than Jesus".[21][285] This episode
followed the unfavourable reaction to the Yesterday and
Today butcher sleeve, from the press,[286] radio stations
and retail outlets in the US.[287][nb 23] As a result of this
media disquiet, there was no accompanying build-up to
Revolver's release or conjecture regarding what the group
was to oer; at press conferences during the North Amer-
ican tour, questions were typically focused on religious
matters rather than the bands new music.[290] In Britain,
however, EMI had gradually distributed songs from the
album to radio stations throughout July 1966 a strat-
egy that MacDonald describes as building anticipation
for what would clearly be a radical new phase in the
groups recording career.[1] Schaner likens the Beat-
les 1966 recordings to the moment of transformation
in the lm Wizard of Oz, where, when Dorothy dis-
covers herself transported from Kansas to Oz, the lm
dramatically changes from black-and-white to glorious
technicolor.[291][nb 24]
In the UK, where Eleanor Rigby was the favoured side,
the single became the best-selling song of 1966,[188] af-
ter topping the national chart for four weeks during Au-
gust and September.[215] On the UK Albums Chart, Re-
volver spent 34 weeks in the top 40, for seven of which
it held the top spot.[293][nb 25] In America, Capitol were
wary of the religious references in Eleanor Rigby, given
the ongoing controversy, and instead pushed Yellow
Submarine.[188] The latter peaked at number 2 on the
Billboard Hot 100,[296] making it, in Goulds description,
the rst 'designated' Beatles single since 1963 not to top
that chart.[297] On the Billboard Top LPs chart, Revolver
hit number 1 on 10 September, a week after the end of
Yesterday and Today's ve-week run at the top.[298] Re-
volver remained at number 1 there for six weeks.[299] For
the only year between 1963 and 1969, the Beatles failed
to win the NME readers best-band poll, losing to the
Beach Boys, while Revolver and Pet Sounds were jointly
recognised as the magazines Album of the Year.[300] In
March 1967, Revolver was nominated for the Grammy
Award for Album of the Year.[301] Voormanns design
for Revolver won the Grammy for Best Album Cover,
Graphic Arts.[302][nb 26]
The release of Revolver marked the last time that Capitol
issued an altered UK Beatles album for the North Amer-
ican market. When the Beatles re-signed with EMI in
10
no longer alter the track listings of their albums.[276] The
April 1987 CD release of Revolver standardised the track
listing to the original UK version.[304] In January 2014,
the Capitol version of Revolver was issued on CD for the
rst time, both as part of the Beatles U.S. Albums box set
and as an individual release.[305]
7 Critical reception
7.1 Contemporary reviews
With controversy following the Beatles during their sum-
mer US tour, critical reaction there was muted relative to
the bands previous releases.[306] KRLA Beat's reviewer
described Revolver as a musical creation of exceptional
excellence while lamenting that, in the wake of the ac-
claimed Rubber Soul, it is receiving only a fraction of
the attention and respect due.[307] Writing in the recently
launched Crawdaddy!, Paul Williams gave the US ver-
sion of the album a mixed review, in which he admired
Love You To and Eleanor Rigby but derided Tomor- In the 2004 edition of The Rolling Stone Album Guide,
row Never Knows and Yellow Submarine.[308] In a cri-
tique that Rodriguez terms "[a]head of the curve, Village
Voice critic Richard Goldstein described Revolver as a
revolutionary record that was as important to the expan-
sion of pop as was Rubber Soul",[309] adding: it seems
now that we will view this album in retrospect as a key
work in the development of rock and roll into an artis-
tic pursuit ...[310] Turner writes that it was the upcoming
generation of writers who got it immediately"; among
these, Jules Siegel likened the album to works by John
Donne, Milton and Shakespeare, saying that the bands
lyrics would provide the basis for scholarly analysis well
into the future.[311]
In Britain, the reception was highly favourable.[312] In
their joint review for Record Mirror, Richard Green and
Peter Jones found the album full of musical ingenuity
yet controversial, and added: There are parts that will
split the pop fraternity neatly down the middle.[313] Allen
Evans of the NME highlighted the albums electronic ef-
fects, McCartneys penchant for the classics and Har- volver as the ultimate modern pop album. While noting
risons stunning use of the sitar as diverse elements
that distinguished it as a group eort, such that the four
band members individual personalities are now show-
ing through loud and clear. Evans concluded: this is
a brilliant album which underlines once and for all that
the Beatles have denitely broken the bounds of what
we used to call pop.[314][315] Having found Rubber Soul
almost monotonous at times, Melody Maker lauded the
new release[316] as a work that would change the direc-
tion of pop music.[312] Peter Clayton, a jazz critic for
Gramophone magazine, described it as an astonishing
collection that deed easy categorisation since much of
the album had no precedent in the context of pop music.
Clayton concluded: if theres anything wrong with the
record at all it is that such a diet of newness might give
7 CRITICAL RECEPTION
the ordinary pop-picker indigestion.[317]
Recalling the release in his book Revolution in the Head,
Ian MacDonald writes that, with Revolver, the Beatles
had initiated a second pop revolution one which while
galvanising their existing rivals and inspiring many new
ones, left all of them far behind.[1] In a February 1967
review, Hit Parader declared: "Revolver represents the
pinnacle of pop music. No group has been as consistently
creative as the Beatles, though the [Lovin'] Spoonful and
Beach Boys are coming closer all the time ... Rather than
analyze the music we just suggest that you listen to Re-
volver three or four times a day and marvel ...[318] Later
that year, in Esquire, Robert Christgau called the album
twice as good and four times as startling as Rubber Soul,
with sound eects, Oriental drones, jazz bands, transcen-
dentalist lyrics, all kinds of rhythmic and harmonic sur-
prises, and a lter that made John Lennon sound like God
singing through a foghorn.[319]
7.2 Retrospective reviews
Rob Sheeld writes that Revolver found the Beatles at
the peak of their powers, competing with one another be-
cause nobody else could touch them"; he describes it as
the best album the Beatles ever made, which means the
best album by anybody.[129] Writing for PopMatters that
year, David Medsker said that Revolver showed the indi-
vidual members of the greatest band in the history of pop
music peaking at the exact same time, and he deemed
the album to be the best of the bunch, the letter that
went unanswered among a series of reciprocally inuen-
tial musical statements between the Beatles and the Beach
Boys over 196567.[327] In a 2007 appraisal of the bands
albums, Henry Yates of Classic Rock magazine paired it
with Sgt. Peppers as the two essential classics in the
Beatles canon, and concluded: Always the rock frater-
nitys favourite (and the blueprint for Noel Gallagher's ca-
reer), Revolver still has the power of a piledriver to the
head.[328]
Stephen Thomas Erlewine of AllMusic describes Re-
the diverse musical directions adopted by Lennon, Mc-
Cartney and Harrison in their respective contributions, he
states: The biggest miracle of Revolver may be that the
Beatles covered so much new stylistic ground and exe-
cuted it perfectly on one record, or it may be that all of it
holds together perfectly.[320] In his review for The Daily
Telegraph, Neil McCormick says that the album shows
the band at their most unied and is a work in which they
introduce whole new vistas of sound yet still contain them
within tightly structured and performed songs. He also
attributes an acerbic quality to the album that psychedelia
lacked once the genre succumbed to the woolly poli-
tics of ower power".[111] Scott Plagenhoef of Pitchfork
views Revolver as a sonic landmark that, in its lyrics,
matur[ed] pop from the stu of teen dreams to a more
8.2 Ascendancy over Sgt. Pepper 11

serious pursuit that actively reected and shaped the times the impetus for Pink Floyd's The Piper at the Gates of
in which its creators lived. He considers it to be McCart- Dawn and for Brian Wilson to complete the Beach Boys
neys maturation record as a songwriter in the same way mini-symphony, "Good Vibrations".[334] In his review
that Rubber Soul had been for Lennon.[12] for Pitchfork, Plagenhoef says that the album not only
Chris Coplan of Consequence of Sound is less impressed reden[ed] what was expected from popular music, but
with the album, rating it a B and the black sheep of the recast the Beatles
[12]
as avatars for a transformative cultural
Beatles catalog. Although he admires the psychedelic movement.
tone, he considers that this experimentalism renders the Revolver has been recognised as having inspired new
more standard pop songs, such as Got to Get You Into subgenres of music, anticipating electronica, punk rock,
My Life and Here, There and Everywhere, seemingly baroque rock and world music, among other styles.[335]
out of place within the collection.[329] Writing for Rough As on Rubber Soul, Walter Everett credits the Beatles
Guides, Chris Ingham describes it as clearly brilliant experimental timbres, rhythms, tonal structures, and po-
but adds: Theres an edge to the sound and a danger in etic texts as the inspiration for many of the bands that
the air that makes listening to it an uncomfortable trip. formed the progressive rock genre in the early 1970s.[336]
Its easy to admire, even to be awed by, but some listeners Rolling Stone attributes the development of the Los An-
nd Revolver a little harder to love.[330] geles and San Francisco music scenes, including subse-
quent releases by the Beach Boys, Love and the Grate-
ful Dead, to the inuence of Revolver, particularly She
8 Inuence and legacy Said She Said.[337] Steve Turner recognises the album
as the catalyst for a wide range of styles; he says that,
through the Beatles eorts to faithfully translate their
8.1 Development of popular music and LSD-inspired vision into music, "Revolver opened the
1960s counterculture doors to psychedelic rock (or acid rock)", while the primi-
tive means by which it was recorded (on four-track equip-
Revolver invented musical expressions and initiated ment) inspired the work that artists such as Pink Floyd,
trends and motifs that would chart the path not only of Genesis, Yes and the Electric Light Orchestra were able
the Beatles and a cultural epoch, but of the subsequent to achieve with advances in studio technology and larger
history of rock and roll as well.[331] multi-tracking capability.[338] Turner also highlights the
Musicologist Russell Reising, 2002 pioneering sampling and tape manipulation employed on
Tomorrow Never Knows as having a profound eect
MacDonald deems Lennons remark about the Beatles on everyone from Jimi Hendrix to Jay Z".[339]
god-like status in March 1966 to have been fairly re-
alistic, given the reaction to Revolver. He adds: The Rodriguez praises Martin and Emericks contribution to
albums aural invention was so masterful that it seemed the album, suggesting that[340] their talents were as essential to
to Western youth that The Beatles knew that they had its success as the Beatles. While also highlighting the
the key to current events and were somehow orchestrat- importance of the production, David Howard writes that
ing them through their records. [332]
MacDonald high- Revolver was a genre-transforming album, on which
lights the radically subversive message of Tomorrow Martin and the Beatles had obliterated recording studio
[341]
Never Knows exhorting listeners to empty their minds conventions. Combined with the similarly vision-
of all ego- and material-related thoughts as the inau- ary work of American producer Phil Spector, Howard
guration of a till-then lite-preserved concept of mind- continues, through Revolver, the recording studio was
expansion into pop, simultaneously drawing attention to now its own instrument;
[342]
record production had been ele-
consciousness-enhancing drugs and the ancient religious vated into art.
philosophies of the Orient.[1] Author Shawn Levy writes
that the album presented an alternative reality that con-
temporary listeners felt compelled to explore further; he 8.2 Ascendancy over Sgt. Pepper
describes it as the rst true drug album, not a pop record
with some druggy insinuations, but an honest-to-heaven, Theres a case to be made that the Beatles went on to do
steeped-in-the-out-there trip from the here and now into Sgt. Peppers because there was nowhere else to go but too
who knew where.[333] far. With Revolver, they had mapped out the pop universe
so perfectly that all they could do next was tear it up and
In the recollection of Barry Miles, one of Britains key start again.[343]
countercultural gures, Revolver resounded with the con-
temporary London underground, particularly those be- David Quantick, writing in Q magazine, 2000
hind initiatives such as the UFO Club, on the level of Whereas Sgt. Pepper had long been identied as the Bea-
experimental jazz, and it established rock 'n' roll as an tles greatest album, since the 2000s Revolver has often
art form by signalling the way forward for all rock mu- surpassed it in lists of the groups best work.[344] Sheeld
sicians who wondered if there was life after teen scream cites the albums 1987 CD release, with the full comple-
status. He also identies its trailblazing quality as ment of Lennon compositions, as marking the start of
12 10 PERSONNEL

a process whereby Revolver steadily climbed in public 9 Track listing

estimation to become recognised as the Beatles nest
work.[129] Writing on the BBC's website in August 2016, The following track listing is for the original UK re-
Greg Kot identied the More popular than Christ con- lease, whereas the US edition omitted I'm Only Sleep-
troversy and the attention subsequently aorded the re- ing, And Your Bird Can Sing and Doctor Robert,
lease of Sgt. Pepper in 1967 as the two factors that had all of which had appeared on the North American release
contributed to Revolver being relatively overlooked. Kot Yesterday and Today. The 1987 CD release, the 2009 re-
concluded that the ensuing decades had seen this impres- mastered CD release, and all subsequent LP re-releases
sion reversed, since Revolver does everything Sgt Pepper conformed with the full, fourteen-song order.
did, except it did it rst and often better. It just wasnt as
well-packaged and marketed.[345][nb 27] All tracks written by LennonMcCartney,[362] except
tracks with * by George Harrison.
Rodriguez writes that, whereas most contemporary acts
shy away from attempting a concept album in the vein
of Sgt. Pepper, Revolver's eclectic collection of diverse
songs continues to inuence modern popular music.[77]
10 Personnel
He also characterises Revolver as the Beatles artistic
high-water mark,[346] and notes that unlike Sgt. Pep- According to Mark Lewisohn[363] and Ian
[364]
per, it was the product of a collaborative eort, with the MacDonald:
group as a whole being fully vested in creating Beatle The Beatles
music.[76][nb 28]
John Lennon lead, harmony and backing vo-
cals; rhythm and acoustic guitars; Hammond organ,
harmonium; tape loops, sound eects; tambourine,
handclaps, nger snaps
8.3 Appearances on best-album lists and Paul McCartney lead, harmony and backing
further recognition vocals; bass, acoustic and lead guitars; piano,
clavichord; tape loops, sound eects; handclaps, n-
ger snaps
Revolver has appeared high up in many lists of the best
albums ever made,[330][348] often in the top position.[349] George Harrison lead, harmony and backing vo-
In 1997 it was named the third greatest album of all cals; lead, acoustic, rhythm and bass guitars; sitar,
time in the Music of the Millennium poll conducted tambura; tape loops, sound eects; maracas, tam-
in the United Kingdom by HMV Group, Channel 4, bourine, handclaps, nger snaps
The Guardian and Classic FM.[350] In 2000, Q maga-
zine placed it at number 1 in its list of the 50 Great- Ringo Starr drums; tambourine, maracas, cowbell,
est British Albums Ever; [351]
four years later, the al- shaker, handclaps, nger snaps; tape loops; lead vo-
bum topped the same magazines list The Music That cals on Yellow Submarine
[352]
Changed the World. In 2001, the VH1 network
named it the greatest album in history, and Colin Larkin Additional musicians and production
ranked it rst in his book All-Time Top 1000 Albums.[353]
In 2003, Rolling Stone magazine ranked Revolver third on Anil Bhagwat tabla on Love You To
its list of the 500 Greatest Albums of All Time.[354] In
2006, it was chosen by Time magazine as one of the 100 Alan Civil French horn on For No One
[355]
best albums and topped a similar list compiled by Hot
George Martin producer; mixing engineer; pi-
Press.[356] That same year, Guitar World readers chose it
ano on Good Day Sunshine and Tomorrow Never
as the tenth best guitar album of all time.[357] In 2010,
Knows"; Hammond organ on Got to Get You into
Revolver was named the best pop album by the ocial
My Life"; tape loops of the marching band on Yel-
newspaper of the Holy See, L'Osservatore Romano.[358]
low Submarine
In 2013, Entertainment Weekly named Revolver the great-
est album in history.[359] Geo Emerick recording and mixing engineer;
In 1999, the album was inducted into the Grammy tape loops of the marching band on Yellow Sub-
Hall of Fame, [301]
an award bestowed by the American marine
Recording Academy to honor recordings of lasting qual- Mal Evans bass drum and background vocals on
itative or historical signicance that are at least 25 years Yellow Submarine
old.[360] In 2013, after the British Phonographic Industry
changed their sales award rules, the album was declared Neil Aspinall background vocals on Yellow Sub-
as having gone platinum.[361] marine

Brian Jones background vocals on Yellow Sub-
marine
Pattie Boyd background vocals on Yellow Sub-
marine
Marianne Faithfull background vocals on Yellow
Submarine
Alf Bicknell background vocals on Yellow Sub-
marine
Tony Gilbert, Sidney Sax, John Sharpe, Jurgen
Hess violins; Stephen Shingles, John Underwood
violas; Derek Simpson, Norman Jones cellos:
string octet on Eleanor Rigby, orchestrated and
conducted by George Martin (with Paul McCartney)
Eddie Thornton, Ian Hamer, Les Condon trumpet;
Peter Coe, Alan Branscombe tenor saxophone:
horn section on Got to Get You into My Life ar-
ranged and conducted by George Martin (with Paul
McCartney)
11 Charts
12 Certications
In the US, the album had sold 1,187,869 copies by 31
December 1966 and 1,725,276 copies by the end of the
decade.[370]
13 Notes
[1] In Lennons description, Revolver was the acid album
and Rubber Soul their "pot album.[16]
[2] Rather than security concerns, Harrisons letter cites -
nancial considerations as the obstacle, saying: too many
people get insane with money ideas at the mention of the
word 'Beatles, so it fell through!"[33][35] Steve Cropper,
then a member of the Stax house band and studio sta,
believed that he would be producing the sessions, based
on his conversations with Epstein.[36]
[3] Held at Wembley's Empire Pool, in north-west London,
this was the last concert that the Beatles played before a
paying audience in the United Kingdom.[45]
[4] Among these meetings, Lennon participated in the lming
of D.A. Pennebaker's documentary about Dylans 1966
tour, Eat the Document,[51] on 27 May,[52] while Shankar
agreed to become Harrisons sitar teacher on 1 June.[53]
[5] The change in the dynamic between the Beatles and Mar-
tin began in early 1965.[75] Speaking about his role in
1966, Martin said: I've changed from being the gaer to
four Herberts from Liverpool to what I am now, clinging
on to the last vestiges of recording power.[64]
13
[6] In the 1950s, Meek had pioneered many recording tech-
niques and had experimented with close-miking,[81] a
sound-capture technique favoured by Emerick.[79] Meeks
preeminence was usurped by the Beatles and other British
rock 'n' roll bands in 1963.[82]
[7] This technique was instead used for the rst time on a
pop album when the Beatles released their follow-up to
Revolver, Sgt. Peppers Lonely Hearts Club Band.[84] Au-
thor and critic Tim Riley nevertheless identies the segues
from "I'm Only Sleeping" to "Love You To" and "Doctor
Robert" to "I Want to Tell You" as anticipating the con-
tinuous stream of sound achieved on Sgt. Pepper.[85]
[8] While Emerick says that McCartney was solely responsi-
ble for creating the tape loops,[106] Martin credited all four
members of the band.[107] Rodriguez acknowledges Mc-
Cartney as the initiator, and the likelihood that the other
Beatles contributed.[108]
[9] American producer Tony Visconti has cited the album as
a work that showed how the studio could be used as an
instrument, and partly inspired his relocation to London
in the late 1960s to learn how people made records like
this.[125]
[10] According to MacDonald, this was the price the Beatles
paid alongside their being appointed MBEs in September
1965.[142] Aside from the nancial imposition, Harrison
was alarmed that the money was being used to fund the
manufacture of military weapons.[143]
[11] Lennon later claimed to have written 70 per cent of the
lyrics,[155] which McCartney refutes, stating that Lennon
contributed about half a line.[154]
[12] In Rileys opinion, the track domesticates the eroti-
cisms of Love You To, drawing comparison with the
concise writing of Rodgers and Hart.[176]
[13] Aside from the band, Martin and Emerick, the partici-
pants included Brian Jones of the Rolling Stones, Pattie
Boyd (Harrisons wife), Marianne Faithfull and Beatles
aides Mal Evans and Neil Aspinall.[185]
[14] Like Rodriguez,[197] music journalist Mikal Gilmore con-
tends that the argument that preceded McCartneys exit
from the studio was LSD-related, since his lack of experi-
ence with the drug led Lennon to dismiss his suggestions
for the songs arrangement.[21]
[15] The Beatles rst recorded the song in the style of the
Byrds,[207] with prominent harmony vocals and Harrison
playing his Rickenbacker twelve-string guitar.[208]
[16] Although once thought to be Dr Charles Roberts, whose
celebrity clients included Edie Sedgwick, the eponymous
doctor was Robert Freymann, who was struck o the New
York Medical Societys register in 1975.[220]
[17] Rolling Stone critic Mikal Gilmore describes Harrisons in-
corporation of dissonance in the melody as having been
revolutionary in popular music at the time.[227]
[18] According to Rodriguez, this list seems the most likely
combination of sounds fed into the track, although com-
mentators have long disagreed on the precise content of
14 14 REFERENCES

the ve loops.[244] In place of the Mellotron sample, Ryan [2] Rodriguez 2012, p. 4.
and Kehew list a mandolin or acoustic guitar, treated with
tape echo.[245] [3] Howard 2004, p. 64.

[19] Originally, the cover art for the album was going to be an [4] Miles 2001, pp. 206, 225.
image created by Freeman (who also took cover photos of
[5] MacDonald 2005, p. 429.
previously released Beatles albums) that included photos
of each of the Beatles faces revolving in circles repeatedly [6] Rodriguez 2012, p. 7.
in layers. The band ultimately rejected the idea.[253]
[7] Moss, Charles J. (3 August 2016). How the Beatles
[20] Gould nds this characteristic emphasised in the Lead 'Revolver' Gave Brian Wilson a Nervous Breakdown.
Singer credits on both the cover and the records face la- Cuepoint. Retrieved 2 February 2017.
bels, which list an individual vocalist for each track, with
none of the shared lead vocals that had been a feature of [8] Babiuk 2002, p. 177.
Rubber Soul.[270]
[9] Brown & Gaines 2002, p. 184.
[21] Despite its origins as an innocent childrens song, Yellow
Submarine was adopted by the counterculture as a song [10] Miles 2001, p. 237.
promoting drugs, namely the barbiturate Nembutal.[278]
[11] MacDonald 2005, p. 185.
[22] The Beatles received death threats from Japanese ultra-
[12] Plagenhoef, Scott (9 September 2009). The Beatles
nationalists and were conned in their hotel suite un-
Revolver. Pitchfork.com. Retrieved 28 December 2016.
der heavy security during their time in Tokyo.[282] The
group then inadvertently snubbed the Marcos regime in [13] Sutherland 2003, p. 36.
the Philippines by failing to attend a function in their hon-
our, triggering a campaign of vilication in the national [14] Schaner 1978, p. 53.
press and mob violence as the tour party attempted to
leave Manila.[283][284] [15] Clerk, Carol (January 2002). George Harrison. Uncut.
pp. 4546. Available at Rocks Backpages (subscription
[23] Soon withdrawn by Capitol,[288] the butcher cover had required).
provoked interpretation as a comment by the Beatles on
the US record-company policy of mutilating the prod- [16] Case 2010, p. 27.
uct, according to Everett.[287] Epsteins attempts to quell
[17] Tillery 2011, pp. 35, 51.
any ill feeling towards the Beatles, in advance of the
groups North American tour in August 1966, were fur- [18] Schaner 1978, p. 55.
ther frustrated by the publication of derogatory remarks
about America from McCartney and Harrison.[289] [19] Rodriguez 2012, pp. 23637.

[24] The album was also the source of confusion for the groups
less progressive fans. A female fan later complained in
Beatles Monthly that 1966 represented the end of The
Beatles we used to know before they went stark, raving
mad.[292]
[20] Sounes 2010, pp. 132, 184.
[21] Gilmore, Mikal (25 August 2016). Beatles Acid Test:
How LSD Opened the Door to 'Revolver'". Rolling Stone.
Retrieved 16 February 2017.

[25] On the national chart compiled by Melody Maker, the al- [22] Schaner 1978, pp. 63, 64.
bum was number 1 for nine weeks.[294][295]
[23] Rodriguez 2012, p. 71.
[26] Eleanor Rigby was also recognised at the 1967 Gram-
[24] Sounes 2010, pp. 14042.
mys, where McCartney won in the Best Contempo-
rary/R&R Solo Vocal Performance category.[303] [25] Rodriguez 2012, p. 8.
[27] In his 2004 review for PopMatters, Medsker similarly [26] Turner 2016, p. 119.
opined that Its taken almost 30 years for music historians
to put the Beatles work into proper perspective. Sgt. Pep- [27] Turner 2016, p. 120.
per carried the title of best album of all time for ages In
the last couple years, however, revisionist history has ac- [28] Turner 2016, pp. 136, 14647, 18283.
tually changed things for the better. Revolver is king.[327]
[29] Rodriguez 2012, pp. 1214.
[28] In Tim Rileys view, "Sgt. Pepper is the Beatles most noto-
rious record for the wrong reasons a awed masterpiece [30] The Editors of Rolling Stone 2002, pp. 3637.
that can only echo the strength of Revolver.[347] [31] Inglis 2010, p. 7.

[32] Rodriguez 2012, pp. 10304.

14 References [33] Greene, Andy (25 May 2015). Read Previously
Unknown George Harrison Letter From 1966.
[1] MacDonald 2005, p. 192. rollingstone.com. Retrieved 30 May 2015.
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[34] Turner 2016, pp. 195, 198. [67] Turner 2016, p. 610.

[35] Turner 2016, pp. 19798. [68] Lewisohn 2005, p. 84.

[36] Turner 2016, pp. 195. [69] Miles 2001, p. 234.

[37] Miles 2001, p. 228. [70] Turner 2016, pp. 32728.

[38] Hertsgaard 1996, pp. 17778. [71] Lewisohn 2005, p. 74.

[39] Liner notes by Mark Lewisohn (1996). Anthology 2 CD [72] Kruth 2015, pp. 19596.
booklet. Apple Records. pp. 1819.
[73] Howard 2004, pp. 20, 23.
[40] Barber, Nicholas (17 March 1996). Records: The Bea-
[74] The Beatles 2000, p. 206.
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tapes)". The Independent. Archived from the original on [75] Hertsgaard 1996, p. 168.
2 April 2015. Retrieved 19 March 2015.
[76] Rodriguez 2012, p. xii.
[41] Rodriguez 2012, p. 107.
[77] Rodriguez 2012, p. xiv.
[42] MacDonald 2005, pp. 195, 196.
[78] Emerick & Massey 2006, pp. 48, 86.
[43] Norman 1996, p. 270.
[79] Hertsgaard 1996, p. 179.
[44] Rodriguez 2012, pp. 4, 67.
[80] MacDonald 2005, p. 190fn.
[45] Miles 2001, p. 230.
[81] Cleveland, Barry (March 2014). Why modern audio
[46] Gould 2007, pp. 226, 336. recording might not exist without British DIY audio pi-
oneer Joe Meek. Tape Op. Retrieved 25 May 2017.
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[48] Ingham 2006, p. 36.
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[84] Womack 2007, p. 170.
[50] Miles 2001, pp. 22632.
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[51] Gill, Andy. Car Sick Blues. In: Mojo Special Limited
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[52] Miles 2001, p. 231. [87] Turner 2016, p. 626.

[53] Lavezzoli 2006, p. 176. [88] Ingham 2006, p. 40.

[54] Rodriguez 2012, pp. 7778. [89] Irvin, Jim. Into Tomorrow. In: Mojo Special Limited
Edition 2002, p. 45.
[55] Turner 2016, pp. 26768.
[90] Babiuk 2002, pp. 182, 184, 185.
[56] Lewisohn 2005, p. 78.
[91] Scapelliti, Christopher (5 August 2016). The Beatles
[57] Rodriguez 2012, p. 25. 'Revolver': Guide to the Songs, Instruments and Record-
ing Equipment. guitarworld.com. Retrieved 9 February
[58] Winn 2009, pp. 1920.
2017.
[59] Sounes 2010, p. 146.
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[61] Lewisohn 2005, p. 79. [94] Reising 2006, p. 112.
[62] Turner 2016, p. 279. [95] Winn 2009, pp. 2223.
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[64] Sheeld, Rob (5 August 2016). Celebrating 'Revolver': [97] Lewisohn 2005, p. 70.
Beatles First On-Purpose Masterpiece. Rolling Stone.
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[66] Everett 1999, pp. 6465. [100] Turner 2015, pp. 22122.
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[102] MacDonald 2005, pp. 190fn, 22425. [136] Womack 2007, p. 139.

[103] Rodriguez 2012, pp. 7172. [137] Riley 2002, p. 181.

[104] MacDonald 2005, p. 190; Schaner 1978, p. 64; Winn [138] Reising 2006, pp. 11314.
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[107] Martin & Pearson 1994, p. 80.
[142] MacDonald 2005, pp. 200, 426.
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[143] Turner 2016, p. 201.
[109] MacDonald 2005, p. 191.
[144] Womack 2007, p. 135.
[110] Reising & LeBlanc 2009, pp. 94, 95.
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[115] Hertsgaard 1996, p. 180. [151] Womack 2007, p. 138.

[116] Rodriguez 2012, p. 119. [152] Womack 2007, pp. 13739.

[117] Perone 2012, p. 84. [153] Turner 2016, p. 100.

[118] Rodriguez 2012, pp. 10506. [154] Everett 1999, p. 51.

[119] MacDonald 2005, pp. 18990. [155] MacDonald 2005, p. 204.

[120] Emerick & Massey 2006, p. 127. [156] Hertsgaard 1996, p. 182.

[121] Rodriguez 2012, pp. 113, 134. [157] MacDonald 2005, p. 203.

[122] Lewisohn 2005, pp. 77, 79. [158] Womack 2007, p. 137.

[123] Hertsgaard 1996, p. 188. [159] Riley 2002, p. 185.

[124] Turner 2016, pp. 61213. [160] MacDonald 2005, p. 202.

[125] Marszalek, Julian (31 October 2012). Prophets, Seers & [161] Miles 2001, p. 238.
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[180] Everett 1999, p. 56. [217] Miles 1997, p. 290.

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[252] Clough & Fallows 2010, p. 118.
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September 2013.
[372] British album certications The Beatles Revolver.
British Phonographic Industry. Retrieved 15 September
2013. Enter Revolver in the eld Keywords. Select Title
in the eld Search by. Select album in the eld By Format.
Select Platinum in the eld By Award. Click Search
[373] Canadian album certications The Beatles Revolver.
Music Canada. Retrieved 15 September 2013.
[374] American album certications Beatles, The Re-
volver. Recording Industry Association of America. Re-
trieved 15 September 2013. If necessary, click Advanced,
then click Format, then select Album, then click SEARCH
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22 16 EXTERNAL LINKS

Turner, Steve (2016). Beatles '66: The Revolution-

ary Year. New York, NY: HarperLuxe. ISBN 978-
0-06-249713-0.

Winn, John C. (2009). That Magic Feeling: The

Beatles Recorded Legacy, Volume Two, 19661970.
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307-45239-9.

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16 External links
Revolver at the Beatles ocial website

The Beatles Revolver and a Half-Century of LSD,

Time magazine, 5 August 2016
 23

17 Text and image sources, contributors, and licenses

17.1 Text
Revolver (Beatles album) Source: https://en.wikipedia.org/wiki/Revolver_(Beatles_album)?oldid=783813754 Contributors: Damian Yer-
rick, Lee Daniel Crocker, Tarquin, Gareth Owen, Eclecticology, SimonP, Camembert, Ewen, Tzartzam, Rbrwr, Paul A, Chadloder, TUF-
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Angeltooh229, Bender the Bot, Slumkingkc001, MorningUnderlook60, OpenYourEyes2, Gameanbubu, Ajdavis16, TheBeatles1966 and
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24 17 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

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